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Vol. So, Xo. 39G 
*>.<)0 Per Year 



Film Fun 



Afril, 192* 
1'uice 20 Cents 







Copyright. 1022, by Fn \i Fes 



The Plot Thickens 




«$&* 




^y 



where are on 



Showmen every- 
their toes to jjive 
shows imaginable 



lARAMOUNT 
iv her 
you the greatest 
this year! 



Study the list. Here's rich food for 
joyous anticipation! 

On Paramount nights there will he 
a gathering of the clans and the fans 
in every town. 

It's Paramount's TENTH Birthday 

this year, you know, and high cele- 
brations are in order all year! 

If It's a Paramount Picture it's a 
fan picture! 

See these sixty-two as a starter and 
you'll tell the world we said it! 



'Jj0z[ l 



^i?^7 



^v-lll 



Released January, 1922, to August 1, 1922 

Ask your theatre manager when he will show them 



Wnllarr Reid in "Rani I rt r" 
By Izola Forrester and Mann Page 

A William dc Millc Production 

"Miss Lulu Bett" 

Lois Wilson. Milton Sills. Theodore 

Roberts and Helen Ferguson 

From the novel and play hy Zona Gale 

Wanda Hawley in Too Much Wife" 
by Lorna Moon. A Realart Production 

"Back Pay." by Fannie Hurst. Directed by 

Frank Borzagc 

A Cosmopolitan Production 



••4K 



res in Sir Gillwrl Parker's Story 
Lane That Had No Turning" 



Constance Binney in 
By Harvey Thcw. A Re 



"Midnight" 
ilart Production 



Pola Negri in "The Red Peacock" 

Bebe Daniels in "A Game Chicken" 

By Nina Wilcox Putnam 

A Realart Production 

William S. Hart in "Travelin' On" 

By William S. Hart 

A William S._Hart Production 

Elsie Ferguson and Wallace Rcid in 

'Peter Ibbetson" 

by George Du Maurier 

A George Fitzmaurice Production 

"The Mistress of the World" 
A series of Four Paramount Pictures with 
Mia May. Directed by Joe May 
From the novel by Carl Figdor 

Wallace Reid in "The World's Champion" 
Based on the play "The Champion" 
By A. E. Thomas and Thomas Louden 

Gloria Swanson in "Her Husband's 

Trademark" 

By Clara Beranger 

Wanda Hawley in "Bobl>ed Hair" 
By Hector Turnbull 
A Realart Production 

Cecil B. DcMillc's Production 
"Fool's Paradise" 
Suggested by Leonard Merrick's story 
"The Laurels and the Lady" 



Constance Binney in 
By Aubi 
A R 



The Sleep Walker" 
y Stauffer 
lart Production 



Marion Davies in "Beauty's Worth" 

By Sophie Kerr 

A Cosmopolitan Production 



Compson in 
William D. T. 



Betty 



The Green 
From the story 
By Constance Li 



IBM 

(oi 1 



ay lor Production 
Temptation" 
"The Noose" 
ndsay Skinner 



Thomas Mcighan in "A Pri cc There Was" 

From George M. Cohan's play and the novel 

"Enchanted Hearts" by Darragh Aldrich 

Marion Davies in "The Bride's Play" 

by Donn Byrne 

Supervised by Cosmopolitan Productions 

Bebe Daniels in "Nancy From Nowhere" 

by Grace Drew and Kathrene Pinkerton 

A Realart Production 

A George Fitzmaurice Production 

"Three Live Ghosts" with 

Anna Q. Nilsson and Norman Kerry 



May McAvoy in "Through a Glass Window" 

By Olga Printzlau 

A Realart Production 

'Tind the Woman" with Alma Rubens 

By Arthur Somers Roche 

A Cosmopolitan Production 

Ethel Clayton in "The Cradle" 
Adapted from the play by Eugene Bricux 

Mary Miles Minter in "The Heart Specialist" 

By Mary Morison 

A Realart Production 

Agnes Ayres and Jack Holt in 

"Bought and Paid For" 

A William DeMille Production 

Adapted from the play by George Broadhurst 



lary IV 

■n the novel by Helen R. Martin 
A Realart Production 

B. DeMille's Production "Saturday 
Night" by Jeanie Macpherson 



Pola Negri i 
Dorothy Dalton 



"The Devil's Pawn" 
"Tharon of Lost Valley" 



Betty Compson in "The Law and the Woman" 

Adapted from the Clyde Fitch play 

"The Woman in the Case" 

A Pcnrhyn Stanlaws Production 

"One Glorious Day" 

With Will Rogers and Lila Lee 

By Walter Woods and O. B. Barringer 

George Mclford's Production 

"Moran of the Lady Letty" 

With Dorothy Dalton 

From the story by Frank Norris 

May McAvoy in "A Homespun Vamp" 
By Hector Turnbull. A Realart Production 



By Jack Boyle. A Cosmopolitan Production 

Ethel Clayton in "Her Own Money" 
Adapted from the play by Mark Swan 

John S. Robertson's Production 

"Love's Boomerang" with Ann Forrest 

From the novel "Perpetua" 

By Dion Clayton Calthrop 



Wanda Hawley in "The Truthful Liar" 

By Will Payne 

A Realart Production 

John S. Robertson's Production 
"The Spanish Jade" by Maurice Hewlett 

"Is Matrimony a FailureV with T. Roy 
Barnes. Ltla Lee. Lois Wilson and Walter fliers 

Gloria Swanson in Elinor Glyn's 
"Beyond the Rocks" 

Mia May in "My Man" 

Marion Davies in "The Young Diana" 

By Marie Corel 1 1 

A Cosmopolitan Production 

Jack Holt and Bebe Daniels in 
"A Stampede Madonna" 

A George Fitzmaurice Production 



-K 



with James Kirkwood, Anna Q. Nilsson. 

Norman Kerry. Dorothy Cumming 

and John Miltern 

From the play by Booth Tarkington and 

Harry Leon Wilson 

Agnes Ayres in "The Ordeal" 

Thomas Meighan in "The Proxy Daddy" 
From the novel by Edward Pcplc 

Wallace Reid in "Across the Continent" 
By Byron Morgan 

Sir Gilbert Parker's story 

"Over the Border" 

with Betty Compson and Tom Moore 

A Penrhyn Stanlaws Production 

"Sisters" by Kathleen Norris 
A Cosmopolitan Production 

George Mclford's Production 

"The Cat That Walked Alone" 

with Dorothy Dalton 

Thomas Mcighan in "The Leading Citizen" 
By George Adc 

Pola Negri in "The Eyes of the Mummy" 

Jack Holt in "The Man Unconquerable" 
By Hamilton Smith 

Ethel Clayton in "For the Defense" 
From the play by Elmer Rice 

Mia May in "Truth Conquers" 

\yres in "The Three ol 
By Rachel C rot hers 

"The Beauty Shop" with Raymond Hitchcock 

From the musical comedy by Channing 

Pollock and Rcnnold Wolf 

A Cosmopolitan Production 

Mary Miles Minter in "South of the Suva" 
By Ewart Adamson 



IF IT'S A PARAMOUNT PICTURE IT'S THE BEST SHOW IN TOWN 



Another Book Sale Extraordinary! 

LAST month, in order to clean out an odd lot of good books, we ad- 
vertised to sell them to the highest bidders, 3,069 books were sold 
a«nd more than 500 additional bids were returned that could not be tilled. 
Several hundred purchasers secured good books at bargain prices 
and are richer for their investment. Here is another offer of more 
books which will be sold to the highest bidders. All are in first-class 
condition— books well worth reading and owning. They are attrac- 
tively bound in cloth and will adorn your library. 

Fix Your Own Price 

This is your chance l<> get these books, not ;il the publisher's price. I>ut at your own. Make 
any I >i« 1 you waul to 10 cents. .><• cents, $1 — whatever you wish. Send in your check or money 
order attached and specify the hooks you want and the price you want to pay. 

The highest bidders will net the hooks — no matter how low the price. Bids will close March 
18. 1922. At that time, all bids will he tabulated and the hooks shipped to the highest bidders. 
Any bids not accepted will he returned at once. 

Here Are the Books 



246 copies "Blood Stained Russia," 

by Captain Donald C< Thompson ; rise B" \ 12*. 2<H> pan»'* 

1 Hinted on heavy [dale i>hi>«t. profusely Illustrated. 
lound in rod cloth. Publisher's price $3. (Ml -whal do 
you hid? You can make any offer you wish— 10 rents 

25 eenis. 50 oenis — whatever you say. Successful bid- 
den will gel their inioks at once, carefully packed, 
express collect. 

698 copies "The United States in the Great War," 
hy Willis J, Abbot — another DOOft that should Im in every 
home and that, in years to come, will he held almost 
priceless. Size 7 s H " x 10'r". :t2K pages, profusely illus- 
trated in black and color - several hundred pictures. 
Frontispiece portrait of General Pershing in color. Map 
end leaves, cloth bound with inset color-plate. Here's 
a biMik that you simply must have. While the pul>- 
lisher's price was s;u>n and the hook is worth it — make 
your own hid! — say one dollar? 

52 sets "Paul de Kock," 

l volumes, titles. "The Child of Mv Wite.' 'The Damsel 
of the Three Skirls. ' "The llarber or Paris." "Sister 
Anne." Illustrated, hound in crimson cloth, stamped in 
gold, size H\4 x s*. title pages in color. 1 140 pages printed 
on line white antique book paper a splendid standard 
library edition. A bargain at $-1.00 a set. but set your 
own price 1 ! 

984 sets James Montgomery Flagg's 

■I masterpii*ccs "One* l'p and Two to Co." "Have a 
Heart." "Wallnuts." "Aren't YOU Coming Along"— 
reproduced in full color by special art-color process on 
heavy mat-board, ready for framing. These are beau- 
tiful reproductions of the clever work of one of America's 
most popular artists pictures that you will enjoy 
hugely. Make your own bid for a complete set of -I — 

26 cents. .V) cents — whatever you say. 

958 Copies "Winston Simplified Dictionary," 

including all the words in common use defined, so they 
can be easily understood, edited by William I). Lewis. 
A.M.. Ph.D.. Deputy Superintendent of Public Instruc- 
tion. State of Pennsylvania and Edgar A. Sniger. Ph.D.. 
Professor of Philosophy. University of Pennsylvania. 
S20 pages, flexibly bound, stamped in gold, colored edges, 
frontispiece in color. Winston s definitions are clear and 
complete with wealth of verbal and pictorial illust raiions. 
All an* new pictures prepared for their teaching value 
in clarifying words It is not a version nor an abridg- 
ment of an older work. It has l>ocn destKpfld to supply 
accurate Information for the school, the office, the home. 
The typography is large and clear — profusely illus- 
trated. Il is a bargain at 11.50 — but bid less if you want 
to take that chance 



386 sets "Power and Force," 

by Wei ham Clarke. Sixteen sections. 430 pages, rise 
7" x 5*. convenient for carrying In the pocket; pro- 
fusely illustrated: held In a substantial red slide case 
These booklets have been a tremendous aid to thousands 
of young men and women in business and social life. 
This is a Course for the Development of Personal Power 
and Force through the Practical Application of Memory. 
the Reading of Character and Personality in Busmeaa 
and Social Life. The Course includes: "The Power of 
Memory-" Divisions and Rules. The Memory Key and 
How it I'nlocks. The Secret— Mental Gymnastics, 
Memory in Reading, Memory- in Business. RetnemlM-ring 
Names and Faces. Memory Defects Remedied, Practical 
Applications; "Reading of Character." in the Figure 
Head and Face; in the Features: the Forehead and the 
Byes, the Nose. Mouth. Chin and Kars; in the Hands: 
Grasp. Handwriting, Fingers and Prints. Scientific Palm- 
istry; Developing Personality. Feminine Traits. Talking 
to Win. How much — one dollar? 

160 copies "Shop Management," 

by Frederick Winslow Taylor. M. E.. Sc.D.. Post Presi- 
dent of the American Society of Mechanical F.nginecrs 
and author of "Principles of Seicntilic Management." 
with an introduction hy H. R. Towne. President of the 
Vale & Towne Manufacturing Company. ' shop 
Management" is written in simple language, with prac- 
tical illustrations drawn from practical experience, de- 
signed for those interested in the management of indus- 
trial enterprises in the production of goods. Red cloth 
binding, stamped in gold. i>* x 0*. printed in large type 
on excellent paper. Indispensable to ambitious prospec- 
tive foremen — -00 or 75 cents — one dollar? What do 
you say? 

527 sets "Shakespeare," 

10 volumes, assorted titles. Size 2" x 2 S 4*. bound in limp 
leather, marbled end leaves, colored edges. Make your 
own bid for a set of in volumes. Most convenient for 
carrying in your pockol for reading on tram or trolley. 
Rvery person should know the principal works of Shakes- 
peare. What are they worth to von? RememU'r! l(» 
volumes miniature, bound in limp leather! 

7? copies "The Family Music Book," 

published by Bcmrmer; a ooo page collection of speotalh 

selected pieci's of piano ami vocal music from the classic 
and modern composers, including many of the old favor- 
ites. The net price of this is $:t.00: regular sheet music 
size p* x 12*. bound in red cloth. Drawing room pieces, 
operatic arrangements, easy classics. Sunday music, 
marches, waltzes, dances, plantation songs, ballads, 
children's songs, hymns, vocal duets, are only a few of 
these selections. $1.50. $2.00. $2.50 — what do you offer" 



Here's your chance. Don't be bashful. Bid whatever you want, 
remembering that others appreciate bargain values too. Books will 
be expressed collect to highest bidders. Unsuccessful bidders' remit- 
tances returned March 20th. Mail your bids at once. 

Brunswick Subscription Company 

627 West Forty-third Street, New York City 



Page 3 



!;.!-!"V }'\ S f &£& V J -.-.-,V oll i mo 35 ' - N 'wul>t'r 390. Entered as Second-Class Matter. June 28, 1915, at the Post-Offlce at New York Citv \ Y 
uougias a. uooke. wce-Fres., £. J. McDonnell, Ircas.; V, . D. oreen, Secretary; 627 West 43d St., New York. 



■MMMMMMMU 




"Fift« feathers may make fine birds" but the lack of them seems to make them even finer! 
imj. sitting, standing dire. but represents thai well-known bird in 

Page ', 



Mae M 'wrap i.i not about to do the stand- 
'Peacock Alley.'' 



FILM FUN 

THE MAGAZINE OF REAL MERRIMENT 



VOLUME TIMHI Y H\ I. 
NUMBED THREE NINETY-SIX 



New York, April, 1922 



K 00 1 1 ill THE M vn 
30 CENTS A COPY 




/Wif tn/ \ormn Tolntaily- and Cllinii lliinlrr. 

Hi-: I c<i///(/ dance mi like this forever. 
She: ah. I' in sure //<>» don't mean it. 



You're bound to improve. 



The Bootlegacy 

fiv Larry Semon 



ON'CE upon a time there was 
a poor working girl named 
Maltha. Martha was a good 
girl hut she craved liquor. Her father 
was an honest bootlegger and also 
owned a small wood alcohol plant. 
He had many customers and after 
drinking his concoctions they never 
drank anything else. One of the big- 
jrest cemeteries in the city was named 
after him. 

One day Martha was wandering 
around Times Square, clad in an old 



HAVE YOU IDEAS? 

Thin, find the following pages, shuir again 
Fll \l Fl \'s nrit and rery successful frnttin 
Most comedy scenarios are collections of jokes 
and humorous situations. If you are ambi- 
tions to write scenarios for the comedies, n tint 
iroutd he better than to send in amusing sit- 
uations with rlercr titles to be illustrated by 
special poses of famous artists? Film Fi n 
ii ill pay for erery one used and trill, irhrrr 
possible, hare pictures especially posed. A 
tray to learn to wrilc long scenarios is to learn 
to urite a single situation. Send in your 
cnnlribnlions to Comedv Editor. Film Flv 
C?/' West Md .S/., \ew York Cily. 



shawl and a pair of pink tights. It 
was a cold day in July, the moon was 
shining brightly and as she passed 
along the great white way the church 
bells tolled the noon hour. Suddenly 
Martha looked up (she'd been looking 
down before) and beheld coming 
towards her a familiar figure clad in 
B.V.D.'s. Her face paled in the bright 
sunlight and she clutched her ermine 
wrap tightly. Would he recognize 
her? What could she do? As the 
figure drew nearer she could feel his 

Puiji- ) 




Posed by Elhd Clayton. 



"Thai flour you tent me yesterday was tough.'' 

"Tough, Ma'am?" 

"Yea. My husband couldn't get hit teeth into the />o.v/n/ / made with it!" 



hot breath on her face. She staggered 
slightly. Not from his breath. They 
came fare to face and stared into each 
other's eyes in astonishment. 

"You!" he gasped. 

"You!" she murmured. 

A deathlike silenee fell between 
them. Not a sound could be heard 
but the screeching of motor horns; the 
jangle of street ears; the rattle of the 
elevated; the cries of newsboys, ticket 
speculators, actors and theatrical 
managers, mingled with the hoominjr 
of the subway and the moans of peo- 
ple baying theater tickets. 

"You!" he gloamcd. 

"You!" she snorted. 

The air between them was full of 
electric currents. They were both 
shocked but she hail a permanent wave 
length. There wasn't a dry eye in the 
street. This tragic couple was too 
much for the crowd of passersby and 
the tears fell copiously if not bounti- 
fully. Gradually the water rose 
higher and higher until Broadway- 
was a seething current. It rose men- 
acingly to their necks but they stood 



like statues gazing into each other's 
eyes. It rose higher. And higher. 
It reached her mouth. She tasted it. 

"Water!" she yelped. 

It rose higher. And higher. It 
reached his mouth. 

"Water!" he screamed. 

But they never moved. Amid the 
groans and cries of the struggling 
pedestrians could be heard the chug- 
ging of the police boat coming up the 
street. On the front porch stood the 
gallant captain clad in a purple 
kimono. He faced the peril fear- 
lessly. Throwing off his pink kimono 
he leaped headlong into the surging 
waters. Martha was just going down 
for the eighth time when he reached 
her side. Clutching her by the left 
elbow he returned to the boat with 
powerful strokes and with the aid of 
the crew soon had her on board. 
Martha recovered consciousness and 
looked around in terror. 

"Father!" she cried. "Where is 
he?" 

The gallant captain bared his head. 
"He went down with flying colors. 



He refused to open his mouth to the 
water and suffocated !". 

•lust then the gallant captain espied 
a bottle floating nearby in the water. 
There was a message in it! Reaching 
over the side he picked it up and ex- 
tracted the piece of paper. A note 
written on the back of a Gordon gin 
label. 

"I die with my bootlegs on! All my 
stock I give to you ! Papa." 

The gallant captain handed the note 
to Martha in silence and when she 
read it she burst into great sobs. 

"A watery grave!" she moaned. 
"Poor father!" 

"You are rich!" cried the gallant 
captain. 

Martha looked at him scathingly if 
not scornfully and her face saddened 
in the deepening twilight. 

"No." she sighed, "I couldn't touch 
a drop of Papa's stock! I'm going 
to give every bit of it to the poor! 
They need it more than I do!" 

She slowly tore the note into tiny 
shreds. 

Above the sound of the captain's 



Page t-i 




led by Ajntj .lyrt* ami turriei SkuUft 



"Here's Ike ring yon yan me. I loie another.' 
"H'hat'.i his name and addre**?" 
")'un'rc not yoiny to hill hint?" 
"So, .tell him the riny!" 



Bobbing could be heard the chugging 
of a motorboat coming around the 
Times Building. In it could be Been 
the rotund figure of a man. 

"Ship, Oi Oil" he cried 

The gallant captain stopped the 
i uat and helped the stranger aboard. 

11> walked over to where Martha 
sat. She looked up in surprise. 

"Pardon me, Miss," hi- said, dotting 
his alpine hat. "I am the Producer 
of the Sexcitemcnt Film Company!" 

Martha gasped. 

"1 saw your act and 1 have here a 
contract calling for fifty thousand dol- 
lars a minute. Will you accept it? 
Anyone that can make 'em cry the 

way you did, is made!" 

» * * » 

N'ow, readers, the question is: Did 
she accept the movie magnate's offer 
— or — ? 

Oh, you know darn well she did! 
-<xx> 

"Can your baby walk?" 

"Walk? Why, it's been walking 
now for five months." 



"Is that so? What a long way he coming to-morrow to stay until next 
must have gone!" Tuesday. 



3 ] 3 3 ] ) 3 1 ] J ] J 3 

Experts are experimenting on a 
non-inflammable film. Now we may 
expect some hot stuff! 



"What are you filming now?" 
"Hamlet in seven reels." 
"It presents difficulties, eh?" 
"Yes, I can't think of any excuse 
for lugging in our bathing girls." 



o o o o d i) o o o o o o o o o no a 3 o a a (i o 3 a 



Pullman Conductor — That couple in 
No. 10 are acting like a pair of fools. 

Porter — Yes, suh; dey am intox- 
icated with honeymoonshine. 

♦ » » 

Principal — Do you wish your son to 
take logarithms? 

Mn. Newrieh — I don't mind. He's 
used to taking a little home-brew. 



Willis — I'm going to knock you into 
the middle of next week. 

Gillix — Good. My mother-in-law is 



('.•'Usui's l.iilluliv 
Hush, little feature film, 

Don't you cry. 
You'll be pure as snow 

By and by. 

C t C f L I C I I L I C C 



\iKtslie 
M ary is a little lamb, 
.4 nd her sweet ways may show it: 
ft egarding which, if you've a doubt, 
Y ou've but to see, to know it. 



Page 7 



How Lo Talk to the \lo\ie Stars 

By Russell Holman 



F L 1 M E KICK S 



ONE of my chief jobs upon this 
mundane sphere has been to say 
appropriate things to the stars 
of the silent drama when my business 
brings me face to face with them. 
Like hash, they vary. For instance: 

Bill Hart — When going to see Bill. 
carry two guns. Discharge these out- 
side the door of the star's room so 
he will know a friend is coming. 
Enter blowing your nose violently into 
a red bandana handkerchief. Drop 
all your final "jr's" into a corner. 
Have a small rock concealed in your 
right hand so Bill won't break any 
bones when he shakes and says, 
"Howdy." Roll a cigarette rapidly 
with one hand and ask Bill how he 
thinks the Disarmament Conference 
is going to affect him. 

Wally Reid — Drive to Wally's in 
your new Hellfire Six racing car with 
the exhausts all wide open and dis- 
tui'bing the peace as much as possible. 
Have some good saxophone music in 
a pocket of your sport clothes. Brush 
up on your hair and your golf patois. 
Enter smiling as humanly as possible 



and exclaiming with striking origi- 
nality, "Mr. Reid, 1 suppose you get a 
lot of letters from the lady fans!" 
End by selling him your car at a big 
profit. 

Gloria Swanson— Spend an hour 
gazing into the windows of Fifth 
Avenue modiste shops and another 
with Vogue so you'll be able to give 
your wife an accurate low-down on 
what Gloria was wearing. Or, safer 
still, say nothing to the missus about 
it. Buy a shine and a manicure and 
have a preliminary workout with two 
teacups, a brace of crackers, and a 
couple of sugar cubes. Practice say- 
ing, "Two lumps, please." Be calm 
as you knock on the door. When you 
discover that the room doesn't re- 
semble a DeMille set, that Gloria is as 
nice and as easy to talk to as the girl 
back home, don't get over-confident [ 
and imagine she's forgotten all about 
Tom Meighan and Wally Reid, now 
that she's seen you! Ask her, "Do 
stars ever really mean it when they 
kiss on the screen?" She won't 
think the conversation complete unless 
you do. 




If Alice would pose as poor Sadie, 
The daughter of Mrs. O'Grady, 
Would she, like some girls, 
Wear her dark hair in curls, 
Or just down her back a la Braid-y? 
-J/m. Hay tlt.ituh, 6o*J Dayyttt Ait., AfajMifOR, Ohio 




Posed by Thomas Mtijhau ant! Charlotte Jackson 



"Are you tin- piano tuner? 

"Tltat'x what I am." 

"I'll give ya' thirty-six cents ij you'll fix tin tturtidiJ thing so it won't work!" 



Page S 



F LliVlElUCkS 




Said Owen: "This sure makes me sore, 
These bills seem to come in galore ; 

To each I pin a check ; 

When they're all paid, by Heck ! 
I find that I'm still Owen Moore!" 

— F. T. I'lterjitn. .".'/.' SaM.i Munira Uhd. t Saittu 

J/umVti, lot. 



Tom MeIGHAN — Throw your orange 
cravat into the ash can and put a 
sprig of shamrcck in your button- 
hole. Enter whistling "The Wearing 
of the Green." Ask Tom when he's 
going to cut out this business of just 
making two pictures a year and really 
settle down to work That's sure to 
make a hit with li'm! 



] ] ] 1 1 1 3 1 '] 1 1 1 1 

Tom Meir/haii toys that the reason 
so many directors direct their own 
unset in pictures it because 'in poor 
guys wani to be botS some of the 
time ot least, 

c i c r i t c t t c c c c 



Poor Little Rich Girls 

JACQUELINE LOGAN, leading 
" woman for Goldwyn, says: 

"Girls used to go into the chorus 
to get a chance at the millionaires. 
Witness the 'Floradora' sextette. Now 
they do it to get a chance at the movies. 
Girls don't have to marry millions any 
more. They make 'em." 



F L 1 M BRICKS 




We greet a great hero, Ben Turpi 
Though your eyes are not straight they're 
alert; 
They look east and look west 
Where the girls are well dressed, 
With two at a time you can flirt 1 

— L. CorUij/IU, CLrk'i Hai, P. 0. tlUj., PkUuidpkia, 
Pa. 




P&ti In/ l.nit U'ilxnn (tint h'raukie Lee 

Child Star — Say, Xursie, read 



tome ju:~!l stories! I'm tick of this 
Peep" stuff! 



"Little lio 



Page 9 




hjtfd by Marion lJa-t>-< (lint {-urn, it Stanley. 

The Afternoon Tea— "There's the five o'clock whistle, dear. Cant we go now?" 





Fatal bit Pou-ita* yfarf.ran. 



/>/<■ 10 



"Front! Send a corkscrew up to IV!" 




Posed by Dorit Hay, Jean 'flathaitay and Fred Gamhotd. 

Father — //«»■ many times hare I laid you that that young man mux n't stay later than fu-elrc o'clockf 
"But, Father, we do our beet! We begin toying good night juet as ■«><»/ a* Jack gete here!" 





Fated by Virginia Ire and James Harrison. 

Dorii — 117/// don't you marry her? 

.huh — ,S//r has an impediment in her xpeech. 

'•She half What it it?" 

"8h* can't nay yex!" 



Page 11 



F L I Al EM1CKS 




Said Lillian, "Next time that I 
O'er a floating iceberg have to fly. 
With my feet soaking wet 
You may make your best bet. 
It will be on the fourth of July !" 

— Jane Thomas, 157 Stat' Sired, llrovklyn, .V. Y. 



\ Word to the W isc 
TUNE MATHIS, the Metro scenario 
»' writer, had just finished reading 
Ben Hecht's "Eric Dorn," and she was 
marveling audibly at the novelist's vo- 
cabulary. 

"He uses even more unusual words 
than James Huneker," she concluded. 
Turning to a fellow scenarist, Arthur 
.1. Zellner, she asked: "Can you think 
of another writer with a larger vo- 
(•:• 'Hilary?" 

"Webster," said Mr. Zellner. 

Try Ft and See 

DURING the filming of his latest 
Associated Exhibitor multiple reel 
comedy, "A Sailor-Made Man," Har- 
old Lloyd was continually struggling 
with nautical terms and sea-going ex- 
pressions of the Navy to make his 
feature comedy realistic in every sense 
of the word. One day his leading lady, 
Mildred Davis, approached him and 
asked: 

"Harold, do you know the difference 
between a nautical mile and a land 
mile?" 

"Sure," smiled the comedian. "Just 
vou try to walk a nautical mile and 
you'll find out!" 

♦ ♦♦ 

They had a double bill at our neigh- 
borhood theater the other day and 
advertised it: 

"What Every Woman Knows": "The 
Truth About Husbands." 



Their Favorite Movie Actors! 

IT is Film Fix's idea that movie stars have their favorites, as well as the 
fans, so we made it our business to find who they are! Norma Talmadge 
seems to be not only the most popular among her contemporaries but also 
with her sex. Charlie Chaplin and Mary Pickford run her a close second. 
Notice that none of them pick themselves! 

Alice Calhoun's Mary Pickford 

Constance Talmadge's Charlie Chaplin 

Norma Talmadge's Charlie Chaplin 

Marion Davies' Norma Talmadge 

Doris May's Pauline Fredericks 

Sessue Hayakawa's Charlie Chaplin 

Wally Reid's Jackie Coogan 

Rudolph Valentino's John Barrymore 

Mary Miles M inter's Mary Pickford — Marshall Neilan 

Wanda Hawley's Wally Reid — Norma Talmadge 

Bebe Daniel's Thomas Meighan — Norma Talmadge 

Agnes Ayres' Norma Talmadge — Rudolph Valentino 

Jack Holt's Clara Kimball Young — Valentino 

May McAvoy's Mary Pickford — Thomas Meighan 

Betty Compson's Florence Reid — Will Rogers 

Gloria Swansea's Norma Talmadge — Elliott Dexter 

Facts of Interest 

l? X-PRESIDENT WILSON has not Adam, is yet the backbone of the 
-t-J written a movie scenario — yet. motion picture industry. 



The empty shells left behind after 
a Bill Hart picture would, if placed 
one a-top the other, rise just even 
with Secretary Hughes's silk hat. 



Woman, made from the rib of 



Babe Ruth's home runs are, like 
some movies, over the heads of the 
crowd. 



Betty Compson does not live with 
her husband. She is not married. 



<xx> 




Pcaed by Farrejit Stanley and Paramount Players 



"Elsie taut she gal that dress for half price.' 
"HV//, tit only half a draw!" 



Payc I > 



The Old Fan Speaks 

B\ RuS8ELL HOLUAIS 

Where are the girls of yesteryear 

Who frolicked on the lillum beaches? 

Gather around and shed a tear 

For all those former bathing peaches. 

For Mary Thurman, dark and fair. 

And Betty Compson, once with Christie; 

For Gloria Swanson, debonair, 

And Phyllis — but my eyes grow misty. 



KLIMERICKS 



^o more they gambol on the sand; 

They found a better road to fame 
They've left the water for the land 

And shine now in the feature drayma! 



Ah, 



ooo 



Lloyd Writes His Own Navy Terms 



\\~HILE working on his latest As- 
' ' sociated Exhibitors' feature, "A 
Sailor-made Man," Harold Lloyd, who 
appears in the role of a sea-going 
"gob," was continually at sea over the 
Navy terms and regulations used in 
the picture. After reading the Blue 
Jacket's Manual from cover to cover 
he decided to write his own definitions 
of nautical terms. Here are a few of 
the comedian's attempts: 

A Hatch iron is a hole in the deck 
which stops at the bottom of the ship. 

The Forecastle is the front of the 
;-hip where a sentry stands all night 
and endeavors to keep awake. 



The After-deck. Reverse forecastle. 

The Scuttlebutt is where you can 
get a drink of water and hear more 
rumors than in a boarding house or 
on the bridge. 

The Bridge is the hangout of the 
navigator and skipper, and a good 
place to keep away from unless you 
have a mania for polishing brass. 

The Gun Deck is an excuse for hav- 
ing guns on a ship. Sometimes it is 
noisy enough to be rather disagreeable. 

The Rudder is a tricky hunk of steel 
which enables the ship to turn corners. 

The Deck is something which also 





Posed by Doris Man and Harry ifryrr* 



"I'ii' had something trembling on my lip fur a long time." 

" )'is. go nil!" 

"I'm raining a inunlarln .'" 



We would ask, as a personal favor, 
To know if the shapely Miss Haver 

Could swim out of the wet, 

If thrown in on a bet, 
Or would she have to have some one to 
save her? 

— Qurrn llink. IIK'1 t:im SI.. I hillirolhe. tlitumri. 

ooo 

rhymes with neck and has to be 
scrubbed just as often — if not more so. 

Field Dag was a surprise as I ex- 
pected to enter in the 100-yard dash. 
It proved to be the day when every- 
thing aboard was washed except the 
bottom of the ship and that didn't seem 
to complain. 

The Masts: Two high structures 
which stuck out perpendicularly from 
the deck and enabled our cameramen 
to get some excellent long-shots from 
the peak. 

Am Oar is one of the heaviest pieces 
of timber I ever got in my hand. It 
is used to propel a lifeboat but is ex- 
cellent to lean on when you get out of 
breath. 

A Lifeboat is one of the best places 
to hide in aboard ship during a coal- 
ing session or field day. 

An Officer is a gentleman whom you 
can easily find out more about if you 
walk by him and refrain from salut- 
ing. 

Clear Ship for Action : I don't know 
much about this except I lost my hat 
and a pair of shoes. 

Reveille: An annoying excuse to get 
the bugler up before anyone else. Cot- 
ton in the ears is a good remedy. 

Sea Sickness: Something that en- 
ables one to contribute to the Atlantic 
Mont hlg oftener than weekly. 

<xs-o t 

The rumor that Paramount has put 
efficiency experts to irnrk reducing 
Fatty Hicrs' waist is declared false. 

Page /■•' 




Posed t>'j I'rra Anson (mil Jiti-I; SI ulhnll 




Fair Beginner What »•.>»/</ / ever i/<> if I hid a spill? 
"Thai would be a horte on youf' 





Posed by Mr. and Mrs. Carter De Haven, Helen Raymond and Thomas l.avjhanu 

"We're coming orer to nee you to-night. Old Man." 

"Fine, but don't lit i/nur irife near thai new dm**. I don't Irani mine to nee it ju.tt now.' 

"Goxh, that's all ire were coming fori" 



I'uiji i : 





I'oMut lirt I, i. is */,„„-, Du/t Dtituhun ami lirrt H'oodriijf. 

"Jonc* seems to be very sure of himself" 

"Hurt of himself? Say, if the Doctor told him he woe yoiuy to die. he'd begin taking lessons on the 

harp!" 




FojrJ If/ WVSion Ihtmond and Lewit Stone. 

"Pluck is the biggest essential in business, my son." 
"Yet, but the trouble is to find somebody to pluck.'" 




Paye lii 




Poted by Sorma Talmadje and Darid liurns. 

"Arc the tags really freshf 

"Fnxli! Why, ma'am, I can't crcn guarantee that they won't .««.«.* ya token ya try to beat 'cm!" 



FLIMERICKS 




For film heroine, Elliot Dexter 

His solved many a problem that vext her. 

Matrimonial squalls 

Oft he calms or forestalls. 
He's the screen's very best anti-wreckster. 

Page 1% 




I'osrd by F.Iain f llammfritein. 

Father — "You little baggage, you." 

"Well, If I'm baygagc, Father, don't you think I ought In 
hare a check*'" 




Anyone recognizing this lady will hindl/i rui.se their right hand! Right! It'x Betty Compson. A'o, she hasn't got the measles //'. 

her neir costume, or rather the lack uf one, fur her new picture, "The Green Tern ptution," 



Page 17 



Why Does a Chicken Cross the Stage? 




■Some chicken! 



Here's where I get my dinner! 




Steady ituir, hoy 



You've made your last duck I 




$ay yam prayers, Chick! 



I.i 'er ;/".' 



Page JS 



A Photo-comic Taken from Larry SemoiVs Film, "The Show" 

ii 




Zowiel 



Missed Vr, hy gosh! 




Wouldn't that jar you! 



.\>rk! 




I'll 



I'm off chickens for lifel 



r<m« 10 




Photograph by Arm:. 



From a Candv Store to Fame 



LILLIAN GISH was born in Massflon, Ohio. Her 
j father was the proprietor of a chain of candy stores, 
one of the pioneers of the chain store idea. The 
family is of French descent, the original name being do 
Guiche. The death of her father and almost immediate 
business reverses for the mother brought Lillian to the 
stage when five years old. She appeared first in "Her 
First False Step," one of Blaney's roaring melodramas, 
because she had blonde hair, a mother and a sister; for 
the east called for a mother with two little children. 

Followed six years of "trouping" in melodramas witn 

Page iO 



Kisk O'Hare. Another family traveling in melodramas 
was the Pickfords, and the two became very close friends, 
a friendship ^bat still continues. 

Before they got into their teens, the Gish sisters joined 
the Biograph Studios to work in motion pictures. 

Lillian first gained distinction in "The Birth of a 
Nation," appeared in "Intolerance," appeared as a star in 
"Hearts of the World," won her first big international 
recognition in "Broken Blossoms," strengthened it with her 
work in " "Way Down East," and now has repeated agair 
with "Orphans of the Storm." 




American Boy Becomes Screen Star 



IT'S almost a toss-up now as to whether Booth Tarking- 
ton made Glen Hunter or the other way about. At 

any rate, it's a splendid all-American team. Hunter 
is the lad who adolesced so delightfully in Tarkington's 
"Clarence" and "The Intimate Strangers" on the stage. 

On the screen he has done fine work with Norma Tal- 
madge in "Smilin' Through"; with Dorothy Gish in "Oh, Jo," 
and with Constance Binney in "The Case of Becky." 

But the credit for discovery of his real stellar magni- 
tude belongs to Frank Tuttle and Fred Waller (both alumni 



of Famous Players), who are bringing Glen out in a series 
of six pictures, soon to be released, with the clean, fresh 
and wholesome American boy as the theme. 

Glen Hunter came to New York at the age of seventeen 
(prophetic age) with four nickels, one in each pocket, slept 
on a park bench, and wrote home that he was hitting on 
all six. In the course of the next few weeks, when tho 
nickels ran out, he had found a job with the Washington 
Square Players at ten iron men a week. . . . The rest was 
easy when you're as good as Glen. Now see where he is! 

Page :i 



Another Sub- title Contest! 




The above "Mil 



is taken from Wanda Hawley's new Realart film, '"The Truthful Liar," 
which will be released the middle of May. 



$10.00 Will Be Paid lor the Best Sub-title for this Picture 
and the Winning Title Will Be Used in the Film! 

(If it meets I lie necessary requirements.) 
In case of lie two prizes will be given. 

The judjres will be: 

Wanda 1 1 \\\ ley 

Thomas Heffron, Director 

Percy Heath, who wrote lh<' scenario 

'"-rill. TBI THF1 L LI Ml" is a story of David Haggard and his wife, Tess (Wanda Hawley), who are very 
' much in love but have very little in common. She is very fond of cards, plays a lot with Arthur 
Sinclair, a nice young fellow, and the above "still" covers thai part of the picture where Toss suggests thai 
they visit a notorious card club for a lark. They fro and while there, the place is raided, Tess loses her 
jewelry. Arthur is wounded and she takes him to her apartment. The plot thickens when blackmailers get 
after them and the rest of the story shows how cleverly Tess extricates herself. Sub-titles must be limited 
to fifteen words and must be in by April 1st. The winning title will lw printed in the June issue. 

ADDRESS SUB-TITLE EDITOR, FILM FUN, 627 WEST 13d ST., NEW YORK 

fagc JJ 



Winning Scenario in "Film 
Fun's" Scenario Contest 



Foiling the Foilers 

By Ernest Mi lbhead 
72 Weal 50th Street, Men York <ii> 

PAUL PUMPERNICKEL, a popular painter of prepos- 
terous pictures, pays pretty Pansy Pennywinkle a petty 
pittance for posing. 

Tired, but happy, Pansy starts for her hall-room in the 
suburbs. While crossing a lonely landscape, she encounters 
a band of barnacled bandits, disguised as the Smith Brothers. 
Obstructing- her path, the leader growls: "Cough up, kid; we 
got the drop." 

Pansy's plaintive pleas penetrate the scenery, reaching 
the ear of Otto Work, an entomologist engaged in ferocious 
combat with a cornucopia. Advancing, Otto flings his net 
over the hirsute head of the lozenge king's prototype, and 
gathering Pansy in his arms, fleetly flees, distancing the 
petulant pursuers. Arriving at an unfordable stream, Otto 
produces from his flask pocket a pair of wooden shoes, which 
he adjusts to his ample feet. With Pansy parked against 
his pompous paunch, he walks across, placing his burden, as 
dry as a Volsteadian banquet, on the sand. Pansy speeds 
away. 

Wearily she comes upon a deserted shack, in which she 
conceals herself behind the pianola, soon succumbing to 
slumber. Awakened by a noise from below, she creeps to 
an aperture in the floor, through which she peers, perceiving 
Paul prone upon his back, his stomach pinioned beneath the 
hulk of the head bandit, futilely grasping for a derringer just 
out of reach. Seizing the pianola, Pansy drops it with un- 
erring aim at the seat of the villain's brain. 

Paul fairbankses to Pansy's side and ushers her to the 
door, where a sled drawn by seven huskies waits. This he 
has borrowed from Santa Claus, whom he has intercepted 
on a belated return from a Yum Kipper fire sale. Wrapped 
in their warm skins, the lovers speed away. 

A pound of liver falls at the feet of the lead dog. The 
p a ssen gers are catapulted into the snow. Pansy finds herself 
gazing down the gleaming blade of a wicked knife. Paul 
grapples with Smith — for it is none other — bidding Pansy flee. 

Arriving at the railroad track as the express is passing, 
Pansy leaps, landing in the lap of a lolling landlord. 

As the train passes Paul, a lavender handkerchief is waved 
frantically from a car window. Paul's distended nostrils 
catch the familiar fragrance of forget-me-nots. Comman- 
deering a motorcycle from a passing traffic cop, Paul inter- 
cepts the train, beating it across a trestle by a scant margin 
of one-quarter of one per cent. Catching the rail of the 
last coach, he swings aboard just as Pansy rushes frantically 
through the door, exclaiming: "My Gawd, the bridge is bust!" 
Paul's weight was too much for the second structure, and 
the lovers find themselves / in the seething surf. Escaping 
the "Venida," Pansy's tresses I protrude above the murk like 
a totem pole. A daring aviator swoops down, and, hanging 
by his capable toes, he snatches the hennaed hank and draws 
Pansy from peril. 

The tank explodes, and the plane is blown to fragments. 
Pansy drops unscathed to the seat of an automobile from 
which the driver was driven by the concussion. Grabbing 
the wheel, she blisters the boulevard. A red racer passes, 
from which Paul vaults to the seat beside Pansy. The car 
strikes an attitude. Paul lands in a perpendicular position, 
Pansy pressed to his pencil pocket. He kisses; she coos. 

The janitor enters, and Pansy rolls off the davenport. 
The End. 





Page 23 



The Funniest Thing 1 Ever Saw 
in the Movies! 

Haven' 1 you seen 'some lunnv happening in a \lo\ie Audience? We remember sitting in ;i 
Movie one da\ when a man came in from llie broad sunlight, groped liis wa\ down the aisle 
and then sal down on the lap of a woman! Film Fun thinks there are lots of such humorous 
experiences. Surely you've seen some funny happenings, too. Don't keep them to yourself, 

it will entertain others to hear them. So shoot in an\ \ou have seen or heard of. 



The best letters describing funny experiences which happened among the audiences in 
Moving Picture Theatres will be printed and paid for at our regular rates. Letters must 
be in b\ \pril 1st. No letters returned. \ddress Funny Episode Editor, Film I i v 



How It's Done in the Movies 

Ymi have often wondered haw Wm done. Certain effect* thai you art sure could not be photographed a* they teem in appear. 
'Hurt must he .limn trickery afoot. So there it. For instance— lite room that tpins around to a d'r.zji person. Of eourxe. 

the room doem't spin, hut how is it tinned 




lii the production. "The Way of a Maid." .slurring Elaine ltammer.itein. Sites Welsh gets up out of bed and hat a eeri/ ilr.Ji 

spell, He is standing an the mining platform, where camera ix placed. As this platform is pushed from side to side, the man 

remains stationary, being on the platform, but the room uith Elaine llummcritteiit keeps shifting hack aril forth. 

Page .", 



The lull, lanky gentleman is 

limn ulher tliun nur men ll'ullt/ 
Hi- ul. He has been working so 
Intnl. counting coupons, that 
lu's lu.it weight. 




The girl in Watty's arms is 
glorious Gloria, ami after read- 
ing this remarkable article nun 
n ill realise that the way to tieu- 
Miss Swanson is at an angle uf 
.90 degrees. 



Gloria Suaiisun and Wallace Reid in 
"Don't Tell Everything" 



Looking at the Screen from All Angles 



liv Norman \mik>\> 



A BRAND now field has been discovered in the movies, 
which will bring joy to the heart of every fan. 
Scientists have been experimenting for months on 
the theory of angles in relation to the screen, and wonder- 
ful discoveries have been made which will revolutionize 
theaters the country over. You have no doubt noticed how 
the figures on the screen become enlongated when you are 
looking at them from way over at the side, and this is the 
secret of the whole thing! For example, when Fatty Hiers 
appears on the screen, move quickly over to an angle of 
thirty-two degrees and he will appear to have the propor- 
tions of an Adonis ! In the case of a tall, skinny actor, move 



way tlown front so that you are looking up at the screen 
and he will appear perfectly normal. This same movement 
will also cause Bill Hart's upper lip to shorten consider- 
ably, and even Larry Semon's nose. When Ben Turpin 
comes on, all one has to do is to sit on opposite Bides of 
the theatre and he will look straight. Every imperfec- 
tion can be cured by moving to a certain angle and the 
possibilities are unlimited. The time is not far off when 
theaters will be equipped with sliding seats, so that the 
entire audience may be moved over to the correct angle, 
or they might dispense with seats entirely and use wheel 
chairs. 




Page . 



How I Write Sub-titles 

An Interview Willi Katherine Hilliker 



KATHERINE HILLIKER laughed 
when she learned from this 
writer that she was going to be 
interviewed on how she writes sub- 
titles.* But that's nothing. Once 
Mrs. Hilliker gurgled musically to 
herself when she saw a picture of a 
waterfall, and tapped off "Page Mr. 
Volstead," or words to that effect on 
her typewriter. And she's never had 
to worry about where her next lim- 
ousine or pair of shoes was coming 
from since. 

Her humorous impressions of water- 
falls, SOWS) lakes, oceans and mead- 
ows, translated into words on her 
typewriter and then transferred as 
sub-titles to the Chester Outing 
Scenics made her what she is to-day — 
the highest priced sub-titler in the 
profession. 

Knowing that Mrs. Hilliker, who 
has been described as a "quaint, un- 
seen, brown-haired, brown-eyed little 
woman, her hair in a classic plait 
about her head, who has made you 
laugh," could drag at least one giggle 
out of a scene showing the Mediter- 
ranean by moonlight, or the Jungfrau 
at 1.30 P.M., who would blame her 
for laughing at anything once — even 
the title for an article about herself 
in Film Fun. 

"Does the director decide where he 
wants titles or does she?" was the 
first question on the list. As it was 
served with the grape fruit cocktail 
there was no way of telling which it 
was that struck Mrs. Hilliker as a 
joke — the question or the cocktail. 

"I will answer that in this way," 
she said. "When a special writer of 
sub-titles is engaged, the director 
takes a secondary part in this work. 
Sometimes he may make a suggestion 
if he cares to, but the special writer 
of sub-titles is in complete charge of 
the situation." 

Of course, as Mrs. Hilliker is an 
extra-special manufacturer of sub- 
titles it is easy to understand that she 
does her work without any director 
using his megaphone — or his reversed 
English sport cap, or his puttees — 
on her. 

Question No. 2 was more in the 
form of a suggestion than a direct 
interrogation. This is it: 

"It has been said that the emotion 
of the climax of the picture depends 
as much on the title as on the picture." 

"That is true when the emotion of 
the acting is not adequate," was the 
reply. "When the acting fails a title 
makes up for the deficiency. A good 
title very often serves to save a scene 
which has lapsed through faulty di- 
recting or acting." 

Question No. 3 would be a good one 
for any highwayman bent on holding 

Page 20 




I'llOTO UV MCUOl.t* ULltU 



Urn. Katherine Hilliker it one 

of the best paid -tub-title writcrx 
in the country. Her income from 
thin notel field in around two tlmii- 
■imid dollar.i a week. 



up Mrs. Hilliker on her way home 
from her sub-title factory, to use in- 
stead of a gun. Anyhow, she put 
her hands over her head when Ques- 
tion No. ."> was aimed at her. It was: 

"Can you give instances of pic- 
tures being ruined or rescued by title 
writing?" 

"Help," cried Mrs. Hilliker, shaking 
that classic plait of hair mentioned 
above as one of her distinguishing 
features. "Help! Can you imagine 
how popular I would be with various 
persons if I should answer that? How 
could I give instances? Anyone who 
sees motion pictures very frequently 
must have some pretty definite views 
on that subject." 

Question No. 4, having been poised 
for a moment, now was tossed across 
the table. 

"Can you give instances and name 
pictures, etc., of the great success of 
title writing?" 

The vivacious heroine of the inter- 
view leaned back in her chair and 
sighed. 

"Now, here's the truth of the mat- 
ter," she explained. "I'm not going 
to advertise myself as the only living 
title writing curiosity. I might be 
prejudiced anyway. But it is a simple 
matter to point out the sparkling satire 
of Anita Loos, the inimitable way in 
which Rupert Hughes has stamped 
himself as a boss titler, an 1 the quaint 
and homely humor of the Will Rogers 
titles." 



"How would a writer go about en- 
tering the field of a sub-titler?" 

"There isn't any formula that I 
know of," was the reply. "I suppose 
the best routine method of attack is 
for the ambitious one to try to get 
employment in a studio, preferably as 
a reader, and then worm his or her 
way into sub-title writing. Experi- 
ence on a newspaper instills brevity of 
expression. This is probably the best 
training. 

"As far as I am concerned, I got 
into it quite by accident. The oppor- 
tunity presented itself. I had an idea 
and the chance to put it in execution. 
The idea struck a popular chord. And 
you know the rest." 

Mrs. Hilliker didn't mention, be- 
cause she knew that her interviewer 
knew, that before she ever became a 
sub-titler, that she was assistant so- 
ciety reporter on the San Francisco 
Cull, then Assistant Sunday Editor 
of the same paper, served on the Creel 
Bureau during the war, became Film 
Editor of the New York Telegraph. 

"All the time," she continued, re- 
ferring to those newspaper days, "a 
persistent bee kept buzzing in the 
back of my head. I felt that the 
scenic pictures could be made features 
instead of chasers on ordinary pro- 
grams. I believed the way to do 
it was to look at the matchless canvas 
of nature with humor, and translate 
the smile to the audiences. I got the 
chance. The public proved I was 
right. The public likes to laugh. A 
laugh is the most valuable product of 
any market. The public's laughter 
was my key to success in my present 
occupation. 

"I know how / happened to be a 
sub-titler. I can't tell anyone else 
how to become one — except to point 
out that if one has strong, fresh ideas 
about any business and keeps working 
away with the courage of his convic- 
tions he is more than likely to land. 

"Personally I am glad that I landed 
on a wave of merriment. I like humor. 
I like smiles and laughter. I prefer 
to take life with a smile; let others 
sigh who may." 

Mrs. Hilliker paused a moment and 
looked thoughtful. 

"You're going to ask me what were 
my greatest successes, and what was 
my greatest success, and what does a 
sub-titler earn, and how much do I 
earn and everything like that, I sup- 
pose," she said. 

"And how fast you have to turn 
out the subtitles and — " 

"That's enough! That's enough!" 
the fair interviewee said with what 
sounded suspiciously like one of those 
sighs she had just assigned to others. 

"I will answer your last question 




// only cottt you twenty cents to see this young lad;/ in Film Fun. If you go to Irving Berlin's nets theater and see his Music Box 
t!i i in it irill tel i/aii back about ten dollars a seat. Incidentally, this is Mile. Marguerite, who has played in Universal productions. 



first by saying that I am supposed to 
get the sub-titles done before I even 
begin doing them. Motion picture pro- 
ducers are more in a hurry than those 
commuters you see in the comic mag- 
azines — chasing their morning trains 
into town, and their evening trains 
back home. 

"I don't think there ever was an 
instance where a sub-titler wasn't 
supposed to be through the moment 
the contract was signed." 

"What does a sub-titler earn?" 
"From $40 to $500 a reel," was the 
reply. "No, I'm not going to say how 
much I earn or whether or not I'm 
the best paid sub-titler," she added in 
response to a query. "And I can't 
tell you how fast I work. It depends. 
I was out at the Goldwyn studio in 
Culver City, California, eight weeks 
doing the sub-titles for 'Theodora,' 
the great film spectacle already re- 
leased by Goldwyn, and 'The Ship,' 
the other Italian spectacle featuring 
Ida Rubinstein, the famous Russian 
damer, which has not been released 
yet. 



"Of course this was work of the 
most serious sort — nothing at all hu- 
morous about it. But I had had my 
first opportunity at this serious type 
of photoplay in 'Passion' and I wrote 
the nine reels of titles in three days — 
a record, I believe. That was my first 
work on a great feature picture. The 
fact that the picture was an unqual- 
ified success, that critics everywhere 
commented favorably on the titles, 
that the public appeared to enjoy 
them — and that immediately after- 
ward I was engaged for 'Theodora' 
and 'The Ship' — was indication to me 
that at least I had not made a failure 
of the task." 

Mrs. Hilliker did not mention that 
the stars in the sub-titling firmament 
have much more time for their work 
than the smaller fry, who generally 
are allowed time enough to draw a 
long breath, and generally finish 
within a week — or come to the office 
dressed in the parlor stove, suits of 
mail being hard to get these days. 

"I wouldn't like to select anyone 
of the big features and name it the 



best example of my work. 'Theodora,' 
unquestionably, was the greatest spec- 
tacle I ever worked on. I believe it 
is the greatest spectacle anyone ever 
filmed, or anyone ever saw for that 
matter. I liked Rubinstein in 'The 
Ship,' too. 'Passion,' of course, is close 
to my heart because, for one thing. 
. it was my first great opportunity. 
'The Cabinet of Dr. Caligari' was an- 
other big picture. 

"Now the prospect appears endless 
to me. It is strange, is it not, how 
cumulative work becomes. The harder 
I apply myself to my task the wider 
the vista ahead. There was a time 
when I could see only a short dis- 
tance into the future. Now the pos- 
sibilities appear endless. There is no 
doubt that action is the dynamo that 
charges the battery. The more we do 
the more we have to do and the more 
we can do. The greatest rewards are 
to the worker." 

For those who didn't know, it might 
be mentioned that Mrs. Hilliker was 
born in Spokane, educated in Georgia, 
and then entered newspaper work. 

Page ..'7 



Ain't it funny what a different 
jugffllittle make-up makeal To 
sec i/oiir favorite comedian sit- 
ting on a inn of nitro-glycerine. 
or In ting nl the receiving end "f 
ii custard pie, lilllc would we 
think llmt In- wa* n very serious- 
minded person. 

At our right is (i iicU-hnoiin 
young iiKiii OK f/OU usually see 

him ami ii little further over you 
see him as he is when not hang- 
ing from skyscrapers! 



We're got a hunch that Larry 
Semou knew he was being 
photographed when he had this 

/iielnre taken, lie is trying 
very hard to laid.' dignified, hut 

when you take a shot at the 

adjacent sna/i yon know its 
just a /lose. And especially 
after reading "The limitiegaey." 




Page 2$ 




Sometime! <i screen director find* himself in thaUov> water. ll< n i 

Km! u> iiml.-r Inn- to hit [Mr. Ballin't) wife. 



Hugo Baffin whose uncomfortable duty it it to direct Cravfurd 
II 'W.< worse, he's got t<> watch 'em act it. 



HOW the screen lost several younjr 
society ladies who Imagined they 
were destined for careers before the 
camera is related by Richard Barthel- 
mess, the younjr screen star. 

"It is singular,' - he said, "how many 
people entertain the idea that the life 
of a screen actor is merely riding 
around in limousines and living in the 
lap of luxury at the best hotels while 
on location. This evidently was the 
l-elief <>f several young women who 
have social connections that open 
doors on Fifth Avenue to them. They 
had besieged the office of the Inspira- 
tion Pictures for a chance to get in 
a picture. 

"Director Henry King decided to 
use them for 'atmosphere' in the film- 
ing of 'All at Sea.' They were in- 
structed to take the train to the loca- 
tion. Arriving there they soon wished 
themselves hack' in their luxuriant 
apartments. It was a new sensation 
to them to eat dinner on a tablecloth 
that did not contain any linen and 
tableware that never came from a 



SCREENINGS 

Fifth Avenue jeweler's shop. Then 
their rooms without baths, and the 
comforts that all girls love, was 
another revelation to them. 

"The next day, looking decidedly 
despondent, they were brought out to 
the yacht. They were the most for- 
lorn appearing society young women 
I had ever beheld. 

" 'Is anything wrong?' I asked one 
of them. 

"'Gracious!' came back the dis- 
gusted answer, 'is anything right?' 

"They never even made up. Their 
places were taken by extras who are 
accustomed to the privations of out 
on location." 

♦ »» 

The Lone Star Has Sot 
'fHF day of the star alone has gone 
I In the motion picture business, ac- 
cording to George H. Melford, Para- 
mount producer, who has just finished 
"Moran of the Lady Letty," featuring 
Dorothy Dalton and Rudolph Val- 
entino, 



"I don't mean that we won't have 
stars any more, for we shall always 
have star players." 

"A great picture demands two 
things — a good story and good act- 
ing. We have plenty of good actors, 
but we haven't always had goml 
stories. The demand for good stories 
is so great nowadays, however, that 
the producer who leans on a star alone 
is foredoomed to failure. The public 
won't bite. 

"Time was when an author thought 
nothing of sitting down and throwing 
something together and calling it an 
original story for the movies. 

"That is no more. Rig live and 
six reel stories now call for the dra- 
matic qualities and skill of a stage 
play, for the closely woven technic 
of a good short story, and for the 
scope and detail of a novel. That is 
why so many stage plays and novels 
are being made into motion picture 
plays and so many successful novel- 
ists and dramatists are giving all their 
time to writing solely for the screen." 

Page .'•■> 



• 



FILM FUN'S 



Jackie Coogan's Diary 

Wednesday, Dec. 28, 1921. 

"..SO a.m. Gee, I hated to get up. 
Daddy dear shook me twice, and I had 
the worst time waking up. You bet, 
when I get big, I'm going to be a 
policeman, so I can sleep standing on 
my feet. 

9.00 a.m. Well, here I am at the 
studio. I brought some of my toys 
in the car to play, with on the "set" 
between scenes. 

The lights wouldn't work this morn- 
ing, so we .are going to lay off till 
after lunch. 

12.00 a.m. Horray, eats are 
ready at mother's! Not my mum- 
sy dear's house, but a lady who 
cooks at the studio and runs a 
cafe. 

1.30 p.m. Back to work. Some- 
how or other those ginks that 
work the lights always manage to 
fix them. 

4.30 P.M. Well, I'm done for 
to-day. Now I can play — and oh, 
boy, what fun I will have with my 
lion and new boats! 

Ma is down town, and I just 



Bert Lytell's Diary 

7.00 A.M. Alarm, but no excursion. 
I have found my new practice of set- 
ting the alarm clock for half an 
hour before I intend to get up a 
great idea. 

7.30 A.M. Up and at it. A 
strenuous fifteen minutes of set- 
ting up exercises. Into my rid- 
ing togs and out for a gallop. 

8.30 A.M. Back from my ride. 
What a grand and glorious feel- 
ing to be free of the studio for 
the day. 




know Granny will let me sail 'em in 
the bath tub. Well, here comes the 
ball in the car, and he is still sore. I 
don't care. 

5.30 P.M. Dinner is getting ready. 

We are going to have sausage cakes 
and hot chocolate and sweet potatoes 
and turkey gravy. Gee, isn't that 
swell? Well, anyway, when a feller's 
hungry and has some goodies to eat. 

6.30 P.M. Feel better now. Got to 
go to bed early. To-morrow we are 
going to take some fishing scenes on 
a big boat. 

7.30 P.M. Good-night, folks! 

Page SO 



10.00 A.M. To the tennis courts, 
and played six sets with Harry 
Meyers, trouncing him roundly. 

12.00 a.m. To the gymnasium for 
a swim and rub-down. 

1.00 p.m. Back to the studio. They 
say an actor entertains himself in his 
off-time by going to see other actors 
act, and I can't seem to get away from 
the tradition. Watched Viola Dana 
in "The Five Dollar Baby." Looks 
like a great picture. To the projec- 
tion room, and saw some lively scenes 
from "Turn to the Right." Think 
Ingram is going to make another hit 
as big as "The Four Horsemen." 

3.00 p.m. Motored over to Venice 
with Maxwell Karger, and so out in 
my boat for an afternoon of fishing. 

8.00 p.m. Back to Los Angeles for 
dinner, and dance at the Ambassador. 

12.00 p.m. Home, very weary. 



A Page from Betty 
Gompson's Diary 

'RIDAY. It started off like a 
jinx day. Somebody called 
on .the phone at the unearthly 
hour of 7 a.m. And they had the 
wrong number! I went back to 
bed, and overslept a nine o'clock 
call at the studio. 

I hurried out on the set all 

ready to be scolded for being late. 

But the set wasn't ready. Chatted 

with Theodore Kosloff — he has 

been giving me dancing lessons. 

When we finally started shooting, my 

director didn't call a halt until 1.30. 

I was famished. 

After luncheon, we shot the scenes 
in which I do the Apache dance with 
Theodore Kosloff. The people around 
the studio knew we had been prac- 
ticing it for some time, and a crowd 
was on hand to watch the scene, 
among them Rudolph Valentino, who 
is an expert on dancing. 

Mother and I had dinner together. 
Afterward some friends dropped in, 
and I took them in my car — guess 
where! — to the movies. The picture 
was "The Little Minister." It was 
the first time it had played here, and 
I naturally had a curiosity to see how 
I looked and how people liked the pic- 
ture. 

We had a bit to eat later, then I 
dropped our guests at their homes, and 
mother and I came on to ours. 



STAR DIARIES * 




A Day Willi Richard 
Barthelmess 

8.30 a.m. Up at 7.30 this morning. 
Gee, that bed did feel good! Life 
isn't much different now than college 
days. Up for an eight o'clock class 

then — up for an eight o'clock class 

now. 



Alice Calhoun's Diary 

7.00 A.M. Rose, took a shower, 
and ate breakfast at 7.4.'> a.m. 
Mother has a bad cold that worries 



8.30 A.M. Left for the studio. 
Mother says it is only a cold in the 
head, and she will be all right in a 
day or so. 

9.15 A.M. Arrived at the studio. 
I wonder why most picture-goers 
think a star has an easy life. I 
have to begin work every morning at 
this hour. 

12.30 P.M. We all repaired to the 
1 Djection room. Saw several hun- 
dred feet of film, and Mr. J 

selected the shots he liked best. 

1.30 P.M. Dined with Mr. J . I 

had a baked potato and a glass of 
milk. 

2.00 P.M. We returned to the set 
and worked till 5. 

C.20 p.m. Reached home, and 
mother seems better. 

7.00 p.m. Guests arrived, and we 
dined. 

8.35 P.M. After dinner I played the 
piano and sang a little. 

10.00 p.m. Altogether, I think this 
has been a hard day, and finally T 
excused myself and retired. 




10.00 A.M. Going through my 
letters from the fans. Can't help 
but like their messages of felicita- 
tion. Human nature is pretty much 
the same everywhere, and words of 
praise, from these folks make suc- 
cess seem something tremendously 
worth while. 

12.30 p.m.. Had an unusually 
profitable conference with Henry 
King, my director, over the forth- 
coming production. 

2.00 p.m. Lunch out of the way. 
Dropped into the club and to the 
hotel, and had a conference with 
George Hobart. Now off for the golf 
links for a two-hour chase of the little 
white ball. 

6.00 P.M. Mother is coming for 
dinner. She refuses to regard me as 
grown-up. I guess that's the way 
with all mothers, and we all have the 
best mother in the world. 

11.30 p.m. I guess I'm like the boy 
who believes that the world is out of 
joint, in that I feel I have to go to 
bed when I'm not sleepy or tired and 
have to get up when I'm just begin- 
ning to realize that I did want to go 
to bed after all. 



A Da> from Pauline 
Frederick's Diary 

UAW one of the prettiest sunrises 
^ since I have been in California. 
Saddled Big Dick before rest of family 
was out of bed. Almost got bucke i 
off, as he hasn't been out of the corral 
for ten days, and was rarin' to go. 
Headed him for the canyon road, 
and he ran like a scared cat until 
we hit the old deer trail, and that 
being steep grade took most of 
the pep out of him. 

After breakfast rode Baldy, and 
took Big Dick and Fuzz over to 
the blacksmith's for new shoes. 
Fuzz has been having trouble 
with his feet. Had luncheon at 
studio with the gang. Mr. Hayak- 
awa had two distinguished visit- 
ors from Japan with him. Quite 
a large number of directors and 
writers present. Spent afternoon 
in projection room with Dew, Jim- 
mie, Andy and Roy, cutting 900 
feet out of the studio print of 
"Two Kinds of Women." At stu- 




dio until seven reading yesterday and 
to-day's mail and autographing pic- 
tures. 

Dined at home. No guests. Carved 
turkey myself. No damage except to 
turkey. Family played cards. Read 
all evening an assortment of stories, 
including a half-dozen originals, two 
stage plays, and a book, all of which 
had been suggested as good screen 
plays. 

To-morrow's call, 7.30. Studio at 8. 
Will ride Baldy. 

I'aqe 31 




Lupino Lane is one of the four bc.it 
pantomimistt <>f England. Success 

tlflt r I Ill-Cl ss fdllli In III III mi tin 

stage: and rune he is out at the 
it uter of "movie civilization," and 
great things arc expected from him. 



This idol of Drvry Lane and tin 
London Hippodrome uill be pre- 
sented in two-reel comedies to be 
known as Lupino Lane Special 
Comedies. 



Lupino Jjxne is well known in 
America, having liren the principal 
comedian in Morris first's spec- 
tacular stage production, "Afgar," 

one of the big stage shuns of last 

year, with Alsia Delysia,tlie French 

actress, as star. 



Fur many tirars he ha 
borne the crown of th 
Ling of English comedian 

and juiiitoiiiiiiiists. 



He is an all-around ath- 
lete, and his during acro- 
batic comedy is almost 

nnbeliiiable. 




Thefirsl of Lupino Lane's 

pictures is entitled "The 

Broker" and is for curly 

release. 



Pagt I 



// (.v expected by thorn 
who know his work that 
hi bids fair to cause 
Chaplin much uneasiness. 



Lupino Lane 



Pages 33-36 missing from source material. 







Sketch made from life, of Miss J)ii/miiiI. by Xorwaii .liilhoiii/. dl the lilh Hold, during her stay ill New York. Miss Diijionl 

jilaynl opposite Eric Von Stroheim in "Foolish Wins," Vniversats million-dollar production. 



Page ■'/ 



Music Hath Charms 

FILM PUN readers in our last issue were invited to compete in a contest to supply 
a musical setting to a strip of film cut at random from various stories. 

Those competing will understand what a difficult task confronts those who provide 
the incidental music to moving pictures. 

Dr. Hugo Riesenfeld has been doing this enormous work for the past six years 
for the three biggest moving picture houses in New York City. 

Whenever there has been a difficult job, there has always arisen a man big enough 
to fill it. Perhaps the hardest part of it all is to know that the job is hard. 

To feel what might be and to visualize the harvest possible with only the barren 
fields in sight. 



OF all the jobs 
that Hugo Ries- 
enfeld has ac- 
quired or had thrust 
upon him in the past 
six years, only one 
has given him trouble 
that is unending and 
pleasure that is with- 
out limit. That par- 
ticular task is pre- 
paring music settings 
to screen comedies. 

Reputation, plau- 
dits of the public and 
praise from the critics 
have come for his con- 
tributions to music, 
his "Overture in Ro- 
mantic Style," played 
by the New York Phil- 
harmonic Society or- 
c h e s t r a , and his 
"Symphonic Epos," 
played by the Los 
Angeles Symphony or- 
chestra. His musical 
comedy, "Betty, Be 
Good," was p r o - 
nounced an excellent 
piece of light opera 
composition; his 
scores for great pic- 
tures like "Decep- 
tion," "Peter Ibbet- 
son" and "The Gol- 
em" were called 
original creations that 
deserved to be ranked 
with the best efforts 
of modern American 
musicians; and most 
recently his film 
operas, with the music 
from the original 
scores matched into 
the scenes of re-edited pictures, like 
"La Tosca," "Carmen" and "Sapho," 
have been hailed as the first steps to 
a full realization of original pictorial 
operas. 

But all that is trivial compared to 
the joy the young managing director 
of the Rivoli, Rialto and Criterion 
Theaters — three of the five big mo- 
tion picture-music houses on Broad- 
way — finds in a good comedy well pre- 
sented, with a score that accentuates 
the humor. 

"The secret of successful comedy 
music lies mainly in surprise, either 
through twisting a familiar melody 

Page 38 




Dr. lliKju ffieamfdd, upon the beat of whoee magic 
Sru- Yuri; (iiy mate* ami hat its syncopated In- 



about or in having an instrument like 
the sliding trombone or the bassoon 
clown unexpectedly," said Mr. Riesen- 
feld. "Sometimes it is done by an in- 
congruous association of ideas, some- 
times by contrasts, but in the majority 
of cases by using melodies with which 
the audiences are familiar. In fact, 
if the audience wants to hear its fa- 
vorite melodies it must listen to the 
settings to comedies for that is where 
they are used most. 

"The easiest comedy to which to set 
music is the travesty on an opera. 
Chaplin's 'Carmen' burlesque is a 
comparatively simple picture to score. 



The story and the 
music are so well 
known that, with a 
little ingenuity in 
transposition of in- 
strumentation or 
changes in tempo, the 
familiar operatic 
score takes on comedy 
values where before 
they were serious. 
The 'Habanera' can be 
turned into a fox trot 
and the 'Toreador 
March' can be switched 
into the most ludi- 
crous channels. When, 
as in Chaplin's 'Car- 
men,' the burlesque is 
based upon an opera, 
the music setting can- 
not be otherwise than 
a travesty on the 
original score. 

"But in other come- 
dies the problems are 
not quite so simple. 
The musician must 
create his own music 
frame and must use 
the compositions at 
hand or devise new 
melodies or effects. If 
the picture is one in 
which the associa- 
tion of ideas can be 
used — as, for instance, 
having the orchestra 
play 'How Dry I Am' 
when the screen shows 
a burlesque bar at 
which buttermilk is 
served — the results 
baton are usually BU CCOOn 

iny. ful. At other times 

it is possible to use 
contrasts, playing a serious theme 
like 'Hearts and Flowers' to a mock 
serious scene on the screen. But 
there are times when special effects 
must be created — such as those which 
were used with the Sidney Drew 
comedy in which the actor suffered 
from a cold. We devised an influenza 
theme and met with such success that 
we had requests from the managers 
in all parts of the country for the 
score. In fact, later the score was 
shipped right with the film. In this 
particular case the musical instru- 
ments were the comedians. 
"The best music settings, to my 



mind," continued Mr. Riesenfeld, "arc 
those in which the orchestral effe^s 
reach the sense of humor of the audi- 
ence. This class of scoring usually 
demands original writing, of course. 
It is here that surprise plays a great 
part. Strauss' 'Till Eulenspiegel' is 
a hrilliant orchestral example of the 
sudden incongruous sound superim- 
posed upon rich harmonies. It isn't 
so much a matter of heing off pitch as 
of different orchestral coloring that 
gives a peculiar sense of risibility to 
such compositions. By suddenly in- 
jecting a phrase on the bassoon, by 
having the piccolo unexpectedly break 
out with a sprightly scramble of notes 
or by having the saxophone bray in 
the middle of a languid harmony, gives 
the surprise twist and the ridiculous 
sound which are highly effective for 
comedy settings. The bassoon has 
been the clown of the orchestra for 
about two hundred and fifty years 
and the saxophone is gradually com- 
ing into vogue as a merry-maker. 

"The most interesting experiments 
have been those, however, in which 
the simplest music was used. Re- 
cently wo showed a picture of a mar- 
ried couple with their sixteen children. 
We might have used 'Climbing Up 
the Golden Stairs' or 'Everybody 
Works But Father,' thus playing upon 
the association of ideas, but instead 
we played the scale and before we had 
covered one octave the theater was in 
an uproar. 

"Let me tell you a secret." added 
the genial musician. "Sometimes we 
have our joke at the expense of the 
audience. We soothe them during 
some of the slap-stick comedies so 
they won't get dizzy watching the 
players sjioot around on the screen. 
They could hardly stand the swift 
action unless we slowed up their 
pulses — if we played in the same fast 
tempo as the picture the audience 
could hardly keep its seat." 

From I lie \rk 
\\ "ALLACE BEERY plays the part 
' ' of a monkey-man in "A Blind 
Bargain," a Goldwyn picture. His 
make-up is such that he is unrecog- 
nizable. Apropos of which, the follow- 
ing conversation took place on the set. 

JaequeUn* Logan: I can't tell 
whether that is Wallace Beery or 
N'oah. 

.1 alien Joseph son : It must be Noah 
because he looks as if he came from 
the Ark, and he's not beery. 

Overpaid al That? 

WHEN Lon Chaney was eleven 
years old he began his theatrical 
career by hiring out as a stage hand, 
in spite of protests from his family, 
at a theater in his home town, Col- 
orado Springs. He was paid twenty- 
five cents a night. Lon says he gets 
more money now but it doesn't seem 
so much. 



This Hi lie Star 




This Utile Star tried 
'Oui. Oui. Oui!" 



Nursery Reels 



Page SO 




This Dr/mrlmrnt is for FILM PUS'S READERS. Haven't f/mi seen some dnrn fool mistakes in the movies lately 
for which tome Director, Author or Actor ought to be shot at sunrise? Shoot it in ami it trill be printed on this page 

to help rid the screen of FILM FLAWS 



This Month's Prize 
Film Flaw 



coxxectep with 
royalty: 
in "the queen ok sheba" 
i was very much inter- 
ested in the great char- 
iot race, the queen and 
everything. i was just 
wondering how i could 
meet the queen when sud- 
denly i spied telephone 
poles in the background 
by the castle! have been 
unable to kind her tele- 
phone number though! 
glenn wright, 804 lumber- 
man's hank bldg., houston, 
TEX. 



Kilm l'i n awards five dollars, 

each month, for the best Film 

Flaw. 



Tracking Down tht Film Flan*! 

SINCE horses, daring the French Revo- 
lution, wore unaccustomed to trolley 
tracks and Kelly-Springfield tire treads, 
I should think Dan ton's stood would have 
shiod at the ones lie saw while on the 
way to rescue Miss Gish from the guillo- 
tine in "Orphans of the Storm." Hebard 
Paine, Harvard University. 

The Missing Link.' 
In "Drag Harlan." Drag notices the 
watch chain John has on is broken and 
tied with a piece of black shoe string. 
He jorks tho knot loose letting the chain 
fall apart but in tho rest of tho scone the 
chain is still tied with the black string' 
Mrs. T. T. Pylo, Eufaula. Okla. 

A Shooting Sword 

In "The Three Musketeers," D'Artagnan 
reaches the port of Calais on the way to 
England, jumps into the boat and shouts, 
"Make haste for England! If you refuse 
I'll blow your brains out!" At the same 
time ho brandishes a sword. — Walter 
Klood. Now York City. 

f'n.p ',11 



Maybe He Last His Poekrthook! 
Lionel Barrymore in "Boomerang Bill," 
is soon in restaurant with suitcase, ready 
to go to Chicago. After meeting Annie, 
he decides to stay in Now York. He goes 
home and the following sub-title men- 
tions that ho pays his rent after visiting 
a pawnshop. If he had sufficient funds to 
get to Chicago why did he have to visit 
a pawnshop? Lelnnd Robert, Allentown, 
Pa. 

The flans "Oft Gang Agley" 

In "Her Social Value," Katharine Mac- 
Donald struggles with tho villain in his 
office, for possession of some valuable 
papers. After shoving the villain down- 
stairs, she drops the papers on tho floor 
ill her excitement. She leaves town and 
when she arrives out West she has the 
papers clutched in one hand! How come? 

Mildred Guiles, Greeley, Colo. 

Her Family Tree 
In "Big Town Ideas," Eileen Percy 
climbs a young sapling, bends it down 
with her weight and enters a second-story 
window. She gets tho "papers," and a 
few minutes later comes out the window 
and the sapling is waiting for her, still 
bant over! She jumps in tho tree, it 
springs back to normal, and after sh" 
leaves it it stays straight! R. L, Nunnal- 
ly. Tazewell, Va. 

.1 Xom-de-plume! 
In Charlie Chaplin's "Idle Class," the 
"absent-minded husband" is seen in tho 
hallway, in full armor, lighting with his 
lather-in-law with a plumeless helmet but 
in the next scene he enters the living- 
room and a great mass of plumes are flow- 
ing from his sky piece! Ruth Bonatz, 86 
Sampson St.. Houston, Tex. 

.1 Film Flaw with a Flair! 
In "Kilm Klaws," the first one cites an 
instance in "Where lights are low," with 
Sessue Hayakawa, as a Kilm Flaw, which 
was absolutely apparent. Tho scene in the 
telephone booth was necessary for the 
twist in the picture and was very cleverly 
handled. I can't understand how the 
reader who sent in the correction ever 
missed it, unless the film was damaged 
when shown. Perhaps he lacked imagina- 
tion! Wilbur Neodham. Hinsdale, 111. 



Oh, Mamma! 
In "Over the Hill," Johnny carries his 
mother from the poorhouse to a waiting 
surrey, and we see she has no hat or wrap 
on. When they arrive at the old home and 
she enters the door sho is wearing a bonnet 
and a small wrap. Miss M. Lynch, Nvack. 
N. Y. 

Still Morr Shrieks from "The Sheik" 
In "The Sheik," Rudolph Valentino pre- 
sents Agnes Ayres with a very beautiful 
American beauty rose, freshly cut. Where 
did he get it? Do they grow on the 
desert ! M. ('arstons. Grand Rapids, Mich. 

.4 Quirk Cure 
In "(Ileum o' Dawn," father is shown 
ascending the stairs all crippled up with 
rheumatism and he has to cling to the 
railing. Later he hustles out of tho house 
and walks away as spry as a chicken! 
Mrs. Patterson Miller, Russcllvillo, Tenn. 

Tht Bat Trirk 
Iii "Get-Rick-Quick Wallingford," the 
waitress opens the door to tho dining- 
room, and before any of the guests have 
arrived we noticed a few hats on the hat 
rack. Who put them there and whose 
hats were they? Leonard Xewste.nl. 
Reno, Nov. 

Th, Walking Doll 

In "A Prince There Was," the little girl 
in the boarding house loaves a doll under 
the stops and climbs the stairs, her arms 
empty, to the room of Kathcrine Woods. 
And yet when she is seen in the room, sh" 
is holding the doll in her arms! W. E. 
Wright. Ashevillc. N. ('. 



Our Film Flan- Department is 

beeom-ing so papular that tee are 
.nnihle to print all af them through 
lark at' spare. Oftentimes several 
Film Flairs are sent in that cover 
the same mistake, sa ire try ta se- 
ll rt the best one. We also reoeiVi 

a great number which da not come 
under thai head and in some caeet, 
as in "A Film Flaw with a Flair." 
the reader has been mistaken. So, 
look before you leap and shoot it in 
in > 1 it ! 



INFILMATION 




Infilmation means "Information regarding the Film.*." anil Kii.m Fix will try to answer any questions our 
readers may send in. Sign your initials only. Send questions to Film Fin's Infilmation Bureau, d&l 

West 'i-Sil Street. Xeir York City. 



Slim — I can't write the way you and 
K. C. B. can, Slim, but anyhow and how- 
thc-soever I'll try and answer your ques- 
tion. Won't you send me your photo- 
graph, Slim? I'd like to see what the 
author of that letter looks like. Theda 
has retired for the present, so that's that. 
(Jive my regards to Bedford Ave., and 
write me again soon! 

Ray B. See answer to Andrew. TllEI.- 
MA Your answers listed above. LCLAND 
Hobert See List of Studios in Photoplay 
Maguziio. Dollie I). Answered above 
Yes. that was Ralph Graves. Apkxo 
The man who played the part of God isn't 
included in cast. I.. E. E. Dorothy Dnl- 
ton. Famous Players, listed above. M. H. 

Gloria Swanson was covered last issue. 
BlBDH Yes. yes! R. L— 318 East 48th 
St., New York. Yes, she's married. Jack 
WoOKARH Wanda Hawley, Realart Stu- 
dio, Hollywood. John Goldwyn Studios, 
Culver City, Cal. 

OOCDCK Sure enjoyed your letter. Mr. 
Oocttck. Gee, where did you get that 
name? The first moving picture was In- 
vented about twenty years ago. The first 
mic was made of a horse race. They 
placed about fifty cameras along the track, 
each one had a string running over to 
the fence and as the horse went by it 
clicked the shutter. They developed all 
the plates, put them together, and Presto! 
A movie! Glad you like Kii.m Kin. We're 
trying to make it better all the time. You 
can reach Gloria Swanson through the 
Lasky Studios, Hollywood, Cal. Come 
again. We like letters like yours. 

Ann, the Serial Kan I suppose I 
ought to answer this in rhyme, Annie, 
hut it can't be done! Yes, Eileen and 
.losie Sedgwick are sisters. Couldn't tell 
you what has become of Thelma Percy. 
Her last picture was "The Star Rover." 
Peggy O'Darc is still in serials. We don't 
think "Hutch" is married but we're not 
sure. Eddie Polo, 6629 Hollywood Blvd.. 
Los Angeles, Cal. Ben Hagerty, Sclig Co., 
3800 Mission Road, Los Angeles, Cal. 
Gordon Griffith, First National, 6 West 
18th St., New York. Elmo Lincoln. 2719 
Sunset Blvd., Los Angeles, Cal. Art 
Acord. Universal City, Cal. Don't know- 
about Louise Lorraine. 



S. E. Cole Marshall Neilan, 6642 San- 
ta Monica Blvd., Hollywood. Thos. Ince, 
Culver City, Cal. Gladys Walton, 4Bfl S. 
Western Ave., Los Angeles. Ethel Clay- 
ton, Lasky Studios. Hollywood. Con- 
stance Talmadge, see above. 

RUDOLPH Valentino Kans! Kor the 
benefit of the dear things who are just all 
agog over Ruddy wc present a brief re- 
sume of his life. Born in Castellaneta, 
Italy, on the stage for three years, in 
vaudeville with Bonnie Glass, and Joan 
Sawyer. Height, 5 ft., 11 inches; weight, 
164 lbs.; black hair; dark brown eyes. 
Address, 7139 Hollywood Blvd., Los 
Angeles, Cal. 

Amihew Your letter is a hard one to 
answer. Andrew. The only way to go 
about it, if you really want to get in the 
movies, is to take the first train for Holly- 
wood and go the rounds. All of the com- 
panies are looking for new material but 
there is no special one to apply to. 

M. T. I really couldn't tell you who 
Joe Ryan married, M. T., nor the color 
of his hair and eyes. Write him care of 
Vitagraphi 469 Fifth Ave. and maybe 
hell tell you. We have no Collette Ryan 
listed. Maybe we'll do better next time, 
M. T. Come again. 

iii.i.i Can't answer all of them, Olga. 
Charles Bryant. 35; T. Roy Barnes, :'.T; 
Jim Kirkwood, about 40; Herbert Rawlin- 
son, 36; Louise Lovely, 25. Have no rec- 
ord of Edna Shipman playing in Red 
Cross Film and don't know how many 
times she has been married. William 
Faversham played in the "Squaw-man." 
William S. Hart was in the original com- 
pany, too. No, it hasn't been filmed as 
yet. 

S. S. R. and B. K. H. Wally Reid. Ru- 
dolph Valentino, Famous Players, ad- 
dress above. Eugene O'Brien. Players 
Club. New York. Tom Mix. 5841 Carlton 
Way. Hollwood. Jack Holt, Lasky Stu- 
dios, address above. Frank Mayo, 7018 
Franklyn Ave., Los Angeles. Jack Pick- 
ford. United Artists, Los Angeles. Same 
for Charles Ray. Dick Barthelmess, 
Lambs Club, New York. Harrison Ford, 
Lambs Club. 



H. S. S.— I don't blame you, H. S. S. 
When that happens you ought to speak 
to the manager about it. He's likely to 
know. Cast for "Tol'able David": David 
Kinemon, Dick Barthelmess; Ksther Hat- 
burn, Gladys Hulettc; Luke Hatburn, 
Ernest Torrencc; Grandpa Hatburn, For- 
rest Robinson; David's father, Edmund 
Gurney; David's brother. Warner Rich- 
mond; David's mother. Marion Abbott. 
You might reach Gladys Hulette through 
First National, address above. She ap- 
peared in "The Silent Barrier" and "The 
Brass Bowl." Yes. I think she would 
send you a picture. Don't know her age. 
Wally Reid is about thirty-six. Address 
him. Lasky Studio. Hollywood, Cal. 

Sin G. (Had you're "Somewhere in New 
York," Sid. Guess we're neighbors! No, 
I don't think Bebc Daniels is married. 
Yes, she has auburn hair and blue eyes. 
Pearl White's hair is auburn. Wc haven't 
seen anything of Lillian Walker in a long 
time cither. I think she was on the stage 
for awhile. We don't know Wanda Haw- 
ley by any other name except the one 
she wears. What's the difference, any- 
way '.' 

Navy Ni use That's right, you've got 
to start some time! Yes. Kenneth Harlan 
is married. You can reach him at the 
Talmadge Studios. 31S East 48th St.. New 
York. Eugene O'Brien. Players Club. New 
York. Conway Tearle. Friars' Club, New 
York. Yes, I think Constance would send 
you her photograph. 

Elizabeth Dick Barthelmess is twen- 
ty-six years old, weighs 135 lbs., has dark 
hair and brown eyes. He is married to 
Mary Hay and you can reach him at the 
Lambs Club. New York. 

Klsa M. No. I don't mind a bit. Elsa. 
Here goes. Billic Burke. Famous Players, 
185 Fifth Ave., new York. June Elvidgc, 
liaysidc. Long Island. Earl Metcalfe. 
Lambs Club, New York. 

CAL. Don't blame you. Cal. Agnes 
Ayres has our admiration, too! Her ad- 
dress is Famous Players, address above. 
She was born in Chicago and I don't think 
she is married, as yet. Glad you like 
Kii.m Kin. 

page ',/ 




"/ love you more than totlfjue rati Irll," lisped Mary. 

Horse Sense 

Fictionized by George Mitchell 



••T LOVK you more than tongue can toll," lisped pretty 
little Mary as she stood in the moonlight, her blue 
eyes wide with girlish innocence. 

"And I love you just as much," poetically responded 
John, one hand over his heart and the other twisting his 
coat into knots with all the nervousness of the bashful 
young man, who under the distressing handicap of a 
thumping heart and a lumping throat, tries to tell his 
love for the first time. 

And all would have gone well with Mary and John if 
it weren't for the well-established tradition that "the 
course of true love never did run smooth," for at the very 
moment when the rosy path of love stretched sunnily 
before them, Mary's father and mother thought it time 
to interfere and in less time than you'd think possible, 
Mary's trunk was packed and her passage booked for 
France. 

Well, you may be quite certain that Mary mingled 
bitter tears with all the pretty things she put into her trunk 
but which she had hoped to be married in, and you may 
be just as certain that she begged and begged her parents 
to relent. But parents have ever been stubborn and known 
to turn deaf ears to the pleadings of true lovers. So, 
on the very morning the good ship was scheduled to sail, 
Mary was driven from her little house in New Jersey 
to the wharf and practically dragged aboard the hateful 
ship that was to carry her far, far from her true love. 

But— 

John was not to be reckoned with as easily as that. 

No, not he, for had not John sworn by all the most 
beautiful swears that lovers have sworn from countless 
ages past when men did and died for ladies fair? 

Yes, indeed. John was every inch a lover though he 
wasn't a romantic-looking one and when he learned that 
his Mary was to be transported to France, he set at once 
to plan a way to follow her, for he meant to get her if 
he had to build a ship to do it. 

Now, Mary's father was no fool. It was quite probable 
that he had had, in his own day, something to do with 
love and its difficulties. "Who knows but he may once 

Paf/e ',.' 



have been in love himself," thought Mary, "though by his 
attitude towards me 1 don't believe it." 

"I don't see how he ever could have married mother." 
she murmured. 

However, Mary's father suspected that John would 
do just what John planned to do, so taking the captain of 
the good ship into his confidence and pay, he instructed 
him to see to it that Mary reach her destination without 
interference from John. 

But "Love laughs at locksmiths," is another old tradi- 
tion that must be reckoned with, for if love can laugh 
at locksmiths it can at least enjoy a chuckle at ships and 
their captains. At any rate, John made his way to the 
wharf and with Mary's ready and valuable help managed 
to slip aboard and stow himself snugly away. 

Now John didn't know a binnacle from fo'castle. That 
is, he didn't know any more about a ship than the usual 
landlubber, and it so happened that he stowed himself 
away in the busiest part of the ship — right down in the 
engine room and the first thing you know he was set 
to work with a shovel in his hand stoking as hard as ever 
he could stoke. 

And when the captain came down and saw him, he 
gloated as gloatingly as he could gloat. 

"I'll starve him out," he hissed. 

But Mary's love was equal to the test for she smuggled 
food to John and fed him with her own little hands. 

Then John discovered that old adage, "Love will find 
a way," and with Mary's help he mutinied; overthrew the 
captain at the point of his shovel and from that on the 
balance of the voyage was made under the guiding if inex- 
perienced hand of love. 



And Mary and John were married when they reached 
France and Uhe very first thing John did was to send a 
cablegram to Mary's father which read as follows: 

"Dear Pop: We are coming home on the same boat. 

"Your loving son. 

"John." 




Jucl drew Emily uaai/ in tin: nulling POflfutWH. 

The Barnstormer 

Fictionized b\ George Mitchell 



''/""I KE, it's easy to be an actor," 

\J" said Joel Matthews to him- 
self, " 'specially if you're just 
born to it." 

Joel was a big, healthy boy, the son 
of a wealthy farmer, and if it weren't 
for this unfortunate longing to go on 
the stage, he might have been of some 
use to his father. But Joel spent most 
of his time rehearsing the important 
roles in the history of the stage and 
his family merely shook their heads 
and hoped he'd pull through this ill- 
ness as he had the measles. 

"I'll be an actor yet," thought Joel 
and striking the attitude he had so 
often seen assumed by Booth as 
"Hamlet," he beetled his brows and 
declaimed: "To be or not to be, thai 
is the question." 

The balance of the famous soliloquy, 
however, remained unuttered for Joel 
;it that moment saw the street parade 
of the Gwendolin St. Clair players 
who had come to town and, after a try- 
ing interview with the manager-hus- 
band of the star, returned with a con- 
tract to play thinking parts much to 
the sorrow of his weeping mother but 
to the joy of his father who believed 
that perhaps Joel might at length 
"get what was coming to him." 

But Joel soon found, as so many 
others have, that the life of the stage 
is no bed of roses. He also found that 
the parts he had to play demanded 
no more histrionic ability of him than 
the rustling of trunks, the passing of 
handbills, playing the piano, and when 
there was a small enough part to be 



quite invisible behind an inglorious 
make-up, to act. 

"The thing that hurts the worst," 
said Joel to himself as he rubbed bis 
aching joints, "is we never stay long 
enough in one place to sleep in a bed 
and the floor of a baggage car is not 
what the hoboes would lead you to 
believe." 

However, Joel's luck was due for a 
change and it came when the company 
arrived at a week-stand and Joel was 
promised a part with a line to speak. 

"At last, at last," cried Joel mel- 
odramatically throwing his arms aloft 
as Monte Cristo: "The World is Mine." 

There was in the company, an actor, 
none other than the leading man, who 
was the very ideal of all that Joel 
thought a star should be, and, quite 
naturally, Joel strutted in his foot- 
steps, reflecting as ably as his limited 
ability permitted, the glory of this, 
his idol. 

And it so happened that in the 
little town into which the company 
now found itself, there was the vil- 
lage drugstore and, more important 
still for Joel, the druggist's pretty 
daughter, Emily. 

Now, Joel wasn't so much in need 
of a glass of sodawater as he was of 
meeting the delightful Emily. But 
twenty cents isn't much to spend on 
an introduction to anything half as 
charming as Emily. The investment 
bore fruit a hundredfold, for Joel was 
introduced to Emily's father and made 
so favorable an impression on him 
that before the twenty cents was ex- 



hausted an invitation to dinner was 
offered and accepted. 

Joel said that he never remembered 
enjoying himself so much in all his 
life. It was the first home meal he 
had eaten since he had gone on the 
stage and this, in addition to the hap- 
piness Emily shed, lured Joel into for- 
getting the importance of his part at 
the theater. 

A full house so excited the little 
company that almost everything went 
wrong that night. The leading lady 
was over-temperamental ; the come- 
dian was tragic; the tragedian comic 
and Joel, conscious only of Emily's 
presence, strutted onto the stage and 
shouted her name instead of the only 
line he had to utter and which had 
cost him a week to learn. 

The audience tittered . . . then 
laughed at his embarrassment . . . 
then broke into delighted approval. 
Never had they so enjoyed themselves. 
The house rocked with merriment. . . . 

"Hands up!" 

The cry came from the entrance 
door of the auditorium as, from the 
rear of the house, stalked the masked 
figure of a man covering the audience 
with a gun. 

The house roared with laughter. 
This was an unlooked-for innovation 
— a novelty that was completely sur- 
prising. 

The laughter rose in volume as the 

masked figure strode down the aisle, 

up onto the stage, and with Joel 

pressed into service, made his way 

(Continued on page 58) 

Page !,S 




Inez was a tumboyhh American flapper with a dash if Spanish paprika in her Uwxl ami few 

/«•«/</< understood her. 

A Game Chicken 

Fictionized by Russell Holmain 

(Frmii the Realart photoplay, based on the story by Nina Wilcox Putnam. 
Copyright, I!).'.'. \hj Realart Pictures Corporation, .ill rights reserved.) 



VRN thirsty millionaires, who could afford to sea- 
piano to Cuba and Bpend a whole month and a trunk- 
full of coin, envied Josh Hastings. Josh could get 
all he wanted to drink; he was in the wholesale hoot- 
legging business, with headquarters in his home on the 
outskirts of Havana. 

Hastings had come to the Cuban capital from New- 
England some twenty years previous and married a Span- 
ish senorita of good family. Since that time Senora 
Hastings had developed a temper. Josh had developed 
a grouch, and their daughter, Inez, had developed into a 
putty girl of eighteen. 

[nez was a tomhoyish American flapper, with a dash 
of Spanish paprika in her blood, and few people under- 
stood her. Least of all her family and tall, swarthy Jose 
Maria l.avendara, her father's partner in the rum-running 
business. Yet sardonic Jose wanted to marry her. This 
amused Inez, but her Spanish mother took his proposal 
very seriously, since his folks were among the top-notchers 
in Cuban society. 

Inez preferred the neighbor's mischievous fifteen-year- 
old boy, who had no standing whatever in any society. 

'•There's a cock-tight going to be pulled off down the 
street to-night, Inez. Like to come? 
to her one night. 

"You bet," said Inez, "and 
rooster, Ferdinand, along, too." 

Knowing she was going to venture into a tough crowd, 
Inez borrowed some hoy's clothing from her companion 
and dolled herself up like a tough. 

The fight was a big success, fiery little Ferdinand won 
the brown derby; but Inez spoiled it all by getting into 
a quarrel with one of the other rooster-owners, a burly 
mulatto. Things were going bad for her, and her small 
companion was of little help, when suddenly out of the 
darkness popped a good-looking young American, with 
two able fists moving like a windmill. 



" the boy whispered 
I'll bring my fighting 



Having rescued Inez and escorted her home, the Ameri- 
can revealed himself as Rush Thompson, "in Havana on 
business." He neglected to tell her that this "business" 
was rounding up her father's bootlegging gang that had 
been running liquor into the United States, and that he 
was a secret service agent. 

Within a week things were in a pretty mess. Inez 
and Rush were in love; and Jose Lavendara, his Cas- 
tilian blood aflame with jealousy, was threatening to do 
all sorts of dire things to the young American. Inez's 
mother was allied with Jose, and her father, thinking to 
clear up the row and get a minute's peace, decided to send 
the girl out of the country. To Stony Point, Massa- 
chusetts, to be exact, which was the town where the Hast- 
ings originated, and where Josh's cousin, Hiram Proudfoot, 
still lived. 

Black-eyed Inez, with her Spanish clothes and flap- 
perish ways, created quite a stir in the little seacoast 
town of Stony Point when she dropped off the 7.04. 

Inez soon discovered that old Hiram Proudfoot was 
some pumpkins in the village — a sort of local Anthony 
Comstock — president of the Purity League, and every- 
thing. Also rich. Also, though Inez didn't know it, a 
darned old hypocrite ami American agent for Hastings' 
rum-smuggling business. 

Living with the Proudfoots gave Inez a social stand- 
ing, and she soon became the leading light in the younger 
set at the Stony Point Country Club. The young men 
were all crazy about her. In one evening she received 
seven proposals on the veranda of the club, and refused 

them all. 

That was the night Rush Thompson and Jose Laven- 
dara unexpectedly showed up in Stony Point. Jose really 
came off the booze ship that was lying off the coast ready 
to land its alcoholic cargo assigned to Proudfoot, and he 
was not at all glad to see Rush there. But he did a rather 
eluded i>n page 65) 



fagr ',', 




"Battling Torchy" 

I Educational-Torch^ ( !omedy 
Featuring 

Johnin llines 




"( '<•<•" thought tin pug who faked a rescue 

was a hero, and it teas up iii "Torchy" to 

show him II /). 



.11 the last minute the "masked marrel" teas 

injured, and "Torchy" had to fight the big 

fellow himself, 



"Torchy" arranged with the pride of 

tin East Side to light the bully an the 

"masked mora I." 




The "masked mareeV had a jol> as 

"bouncer" in a little cafe in tin 

toughest of imigh neighborhoods. 



The neighborhood was so tough that 
the banes played with revolvers. 




Larry Semon 
in 

The Show" 




Larry makes a dean sweep villi tin chorus. 



Larry joins the "Merry M err if and inters 

the ballet. 




Playing second fiddle to a johnny 
seems more necessary than en- 
joyable. 



Larry follows the bandits aloy a 
twentieth century express. 



Page 



)■' 




Michael Bohnen, u 
well-known European 
actor, play* opposite 
Miss May in this 

four-part thriller. 



In China the a held 

captive by the Kiny 

f beggars, but escapee. 



Tlie locations in "The Mistress of the World," rary from Hidden to darkest . Ifrica, 




Dorothy tries to get 

past the cop at the 

tight but doesn't yet 

auay with it. 



Hire's where the storm 

brewi and the home 

brews! 



Billy pastes a bad knight and discovert there's something in it: 



Page +6 




{Above) A scene from the "Beryl Coronet." The Beryl Coronet, an heirloom of priceless value, entrusted In " private 
banker for the nobility, is mysteriously stolen. Holmes, in his usual faultless manner, runs dotOH the criminals. 

(Brloir) Tien scenes from the "Peril's Foot." 




i . 



The Adventures of Sherlock Holmes" 



Page ;; 




Page iS 



Norma Talmadge in "Smilm' Through'' 




Akmm.au 



tO>11 tk* Count 
lctu»ll>> go to 
*>oi k 9 

Orf Epivolr 

353 — 



'Twas Ever Thus 



ityc 4y 



Lloyd Hamilton in "Rolling Stones' 1 




II ith tlir lirlp of a high irind and a "train roller "//«/»" 
makes the hat business n n rij brisk our. 



"Hum' ami hix /nit {little Bobby DeVilbisa) stick 

up for their only friend (Irene Dalton). 




There's nothing worse than to stand in front of it r, - 

laurant irindoir uith no money in your picket. Ask 

"Ham." he knows. 



"Hum" and hix /nil get something to eat rirn if they hare 
only a nickel between them. 



fage M 



Mary Johnson in "A Gay Knight 



>> 




Mary Johnson and . i.nl Ringtail, one of Sweden'* hcai 
character actors. 



Mart/ Johnson make* a In witching heroine, in this 
amusing littli play of the 1 1th Century, 



I'ayt 01 



"Bobby Vernon in "Hokus Pokus" 




Lcm tries some magic on the hotel stove. 



Sherman, The Great Magician, arrives in town and shows 
his stuff to Lem (Bobby Vernon), 




Lem holds Susie up for a kit*. 

Page 8 i 



Lem recover* the stolen jewels and becomes the town hero, by goshl 



Doreen Turner and Coy Watson, Jr., in "School Day Love" 




Educational pictures are 
opening a new ficlil in ihe 
movies for the kiddies and 
the grown-ups are jnsl as 
pleased as the young 'mis. 



Baby Peggy in "Circus Clowns" 
Baby Peggy has dinner with Muvver and Brownie, the Wonder Dug. 




Fatly tries to ride the donkey but he won't stand for it. 



Doreen, playiny Indian, is lied to a ehair and 
eauyht in a fire, lint is rescind by her jiets. 

Page 63 



BATHER 

Acknowlfl tge 

the best pictures on 
the art mr.rket today. 
It is RKAL. It is true 

to Lia-. it is INNO- 
CENT and very BEAU- 
TIFUL. You cannot 
helpadmirtng it because 
of tha beauty of the uk- 
iiri-. the woods, the 
water, the action, the 
comp osition, the tones, 
the w-mderful depths, 
the skylight, in fact all 
that goes to make this 
put'ire what it is. It is 

A PICTURE 

Made lor dnerimiuatinit 
I*r»on« who desire to regain 
individuality in lltrir arl col- 
lection-. Person* who tow, 
understand and appreciate 
the every beauty and lovdt> 

. 
Snd ta thli i-icti- 

otlit-l ttudii--. IBM 

Imi-liiiew. No eotti Cl m 

mhjii will hf CDMplMC willi- 
i>ii[ it and one bSJ OWJ Anted 

v.,11 witli it. 

We Jt.- m.i' ; n 

. Hinted on "«•'' blown DKHIOU " 

I) the plain pktare* to wU the choke, Prion and ibtsrannaMd 

a* gum below: 

>,/, ri.nn Copto! Mtd Copki 1 imd Hotft 




Photo Storiettes 



CbpyKstt, v.n-i 



6x10 
10x20 



.75 
51.50 



$1.00 
$1.85 



$3.50 
$5.50 



|] vonr dOSkl FOB ""i piLlurt--. amd n> yoor 

orda today. 

Fords Foto Studios, Ellensb urg, W ash. 

D@GS0 





AGENTS 



Slid — sl'00 :, week Knr 

Samples gold sign letters 
I'm- stotv fronts Bad office 
windows. Anyone ran pat 

tlM'in cm No experience necessara BIk demand. 

LIBERAL OKI-'KK TO GKNBRAL AGENTS. 

METALLIC LETTER CO. 431 M. CLARK ST.. CHICAGO 




YOUR FACE IS 
YOUR FORTUNE 

wU r m on ni ii' 

beauty and purity of youth. 

It YOt K Dtoi I ■ D have 

■tnwi i. . . ii. -, « i iiili. ., it i .■ k- 

tiead*. rednes* "i larr or m<— . a 
•iiiidtt), *allow -km. or an) lil.i.ii-li 
un ■>«' under tin- ■Lin. 

Dr. James P. Campbell's 

Safe Arsenic Complexion 

Wafers 

1 liev marvetoti* beautifier* nt* Ike 
nuuiilriii.ii and the mkln are wondei 
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.,■:.. by In t'.i.i.; !■■ 

i runt turn hSppy ill tli' 

> |ltl|-f, *LH.IIf«N . Iilli|.l> vit.n. 

Mailed in plain cover on receipt of $1.00 from Richard 

link Co.. Dept. 22. Kens. St... Brooklyn, N. Y C. 

Every Druggist can set this remedy tor you from 

hi* wholesale dealer. 



MOVIE STAR PHOTOS 

OF THE BETTER KIND 

Thaae genuine photoa are the boat obtain 
abb* sp«-ei«lly nom-d fur by th«> various 
»rti>t>. Slw K x In. 50c ..r 12 for SS. 

Unutlful and Artttiii- mtd ihry ■ i 
i>Itup v»n. If not wr refund >.. m 

Mention tuune of movie «ttarn desired uml 
. n -low inun.-y urdrr. UlflMMJI Of D. EL 
-luiiiua only. cover-bur your |>ur<-haM> ta> 
■r ether with ttiit, ■ulvntlwitn-nt with four 
iiwiiv and udtlrt>HH written plain] 
£ TUDAY to 

S. BKAM. Dept. 120. 209 W. 4Slh St.. N. T. 

Special Propoaition to Dealers 




$ OLD MONEY WANTED $i 



*j to MOO i.ACH paid lor hundreds of old ootpf. K.. . 
\i !. odd or old money. Rend in rent-. f«»r Mew MliL-.tnit.-ii | 
Coin Value Book, 4x0 0*1 posted. You may have, rain- | 
ulilt- coins We i>av eudi 

CLARKE COIN CO., Ave. 1, LeRoy, N. Y. I 



Boy Crazy 

An R.-C. Picture 
Direr led by William A. Setter 

The Cast 

Jackie Cameron Doris May 

Mr. {'a merlin Fred Gambold 

(her father) 
Mrs. Cameron Jean Hathaway 

(her mother) 

Tom Wiaton Frank Kingsley 

J. Smythe Harry Myers 

Mr. Skinner Otto Hoffman 

Evelina Skinner Gertrude Short 

:1/r.x. Winton Eugena Tuttle 

The Kidnappers 

Ed Brady and James Farley 




Doris Mail and llarri) Metiers 

The Slory 

JACKIE" CAMERON has won 
for herself in the town of Santa 
Booltara the reputation of being "that 
boy-crazy Cameron girl." Jackie has 
a pretty level head, however, and she 
induces her father to let her take over 
his store which is getting run-down 
and a trifle seedy and convert it into 
an up-to-date gents' haberdashery. 
Jackie has competition in a classy 
"Emporium" run by one J. Smythe, 
a classy individual who blew in from 
New York and who has it all over 
the small town boys for looks and 
speed. 

Crooks enter the peaceful atmos- 
phere of Santa Boobara, after the 
money of Old Man Skinner, richest 
man in town ami also father of the 
homeliest girl, Evelina. By mistake 
the crooks kidnap Jackie, thinking she 
is Evelina, holding her for a ten-thou- 
sand-dollar ransom. 

Gallant J. Smythe speeds to the 
rescue in his red roadster. Meanwhile 
the crooks, discovering their mistake, 
leave Jackie bound in a deserted log 



cabin and steal the ten thousand from 
Skinner's safe. They are overtaken 
by Smythe and Jackie and led to the 
sheriff's office where Jackie comes out 
victorious by claiming the two-thou- 
sand - dollar reward which Smythe 
has offered for the return of the ten 
thousand. 

Thomas Meighan in 

"If You Believe It, 

It's So" 

(Paramount) 

The ( .asl 

Chick Harris Thomas Meighan 

Alva Morley Hauline Starke 

Sky lilac Theodore Roberts 

The Star} 

piHICK HARRIS, a city crook, goes 
* -^ out into the country, resolved to 
forget the past and live straight. He 
falls in love with a pretty country 
girl, Alva Morley. But he is unable 
to shake off some of his old pals of 
the underworld, notably Sky Blue, a 
vetexaajconftdence man. In addition, 
he <lis<pt/crs a clever crooked element 
in the country village. 




Thomas Meighan and Pauline Starke 

How Chick redeems himself, cuts 
loose forever from his past, and, after 
renouncing Alva on account of his 
former deeds, proves himself worthy 
of her love, is told in a story that is 
lightened throughout by the unctu- 
ous comedy of Theodore Roberts and 
others. 



I'llije 



A few things 




WUham Allen White. 

fetched at the Penguin 
dub. If a\hin$ton, 
bit Robert James 



D. C, 

\fillnnr 



William Allen White 

has said on Judge's Editorial 
Page during the past few weeks: 



On Prohibition, he writes: 

"The saloon, the plain drunk, the drunk with 
trimmings and the periodical with its attendant 
pale pink zebras and spotted monkeys and gala 
snakes used to be the only surcease man had. It 
was an expensive surcease! Naturally, it grew 
wasteful and finally impossible. Then, with the 
coming of the newspapers and the movies, the 
saloon, lagging superfluous on the stage, had to go. 
It will never come back." 

On Lincoln: 

"Foi the myth is the Lincoln that we have builded 
out of our own aspirations. It is the American 
ideal of a good and great man. It is of vastly more 
importance to the world than the plastercast of life 
around which this myth has been formed. We do 
not make gods of wood or stone any more, but take 
flesh and blood and events and eras and make 
myth-men who rule us. And one of our strongest 
rulers is the myth called Lincoln." 

On the Lonesome Rich: 

"When a man gets so far down and out that he has 
nothing but his millions between him and starva- 
tion Steps Should Be Taken and probably Resolu- 
tions Should Be Passed. A home for indigent 
capitalists might be provided: indeed we have sev- 
eral such homes, and when we get a poor devil into 
one, as we once had Charles W. Morse, he is 
ruthlessly and incontinently pardoned out." 



On the Economic Boobyhatch: 

"Robert Harris lives near Casper, Wyo. He has 
In-en in the sheep husiness sixteen years, and is a 
competent rancher. This fall he brought twenty - 
six carloads of sheep to Kansas City, with 135 sheep 
in each car. After paying the freight and selling 
the sheep on the market he had eleven cents left 
for each sheep." 



On Andrew Jackson, he says: 

" 'Get out of here, the whole yelping pack of you! 
When I get a little more time I'm going to ask the 
Hawkshaw Department of Congress to find out 
who pays the expenses of the Gridiron Club. But 
just now I am busy firing all the sons-in-law of the 
State Department. I have issued an order pro- 
viding that no man who knows Tuxedo from a 
casus helli shall hold a job in the State Department, 
and that the vacancies shall be filled from the 
State agricultural colleges west of the Mississippi. 
That ought to hold the gaudy dancing beggars who 
have made our State Department a cross between 
a pink tea and a home for the half-witted sons of 
the degenerate rich.' " 

"It was with about that kind of a smash that old 
Andy hit the world of his day. It has sufficed for 
nearly a hundred years. But the times arc aching 
for boots and whiskers in the White House not 
now, but before another hundred years." 



Every week in Judge, William Allen White 
speaks in his own inimitable, clear and 
amusing style on many and varied topics. 



Page ■'•■'> 



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Photo Storiettes 

(Continued) 



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Nazimova in a "Doll's 
House" 

From the play by Ilenrik Ibsen 

Directed by Charles Bryant 
(A Nazimora production released 
through United Artists Corporation) 

The Cast 

Torvald Helmer Alan Hale 

Nora, his wife Nazimova 

Doctor Rank Nigel de Brulier 

Anna, a muse Elinor Oliver 

Site Krogstad Wedgwood Nowell 

Ellen, a maid Cara Lee 

Mrs. Linden Florence Fisjer 

Ivor Philippe de Lacy 

(the children) 
Emmy Barbara Maier 




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Nazimova, Philippe de lacy and Bartxira 
Maier 

The Slory 

'PHE theme of "A Doll's House," 
t by Henrik Ibsen, Norwegian lyric 
and dramatic poet, is woman's duty 
to herself as a factor in the scheme of 
life. 

Torvald Helmer becomes appointed 
an official in a bank, after a period of 
poverty and an illness in which his 
life was saved by the action of his 
devoted wife Nora, who secretly bor- 
rowed money from a lawyer named 
Krogstad. Now the light-hearted wife 
is happy with Torvald and her chil- 
dren, and is paying off the money- 
lender in instalments saved out of her 
household allowance. 

Torvald, a man of strict, narrow 
ideas, begins his business at the bank 
by ordering the dismissal of Krogstad, 
who is an under employee, and who has 
a reputation for chicanery. The posi- 
tion is intended for a Mrs. Linden, 
former schoolmate of Nora, who is in 
want. 

Now comes a distinct shock when 
Krogstad forces an interview with 
Nora and informs her of his discovery 
that she had forged her dying father's 



name to the bond for her loan. He 
threatens criminal charges and ex- 
posure if she does not induce her hus- 
band to retain him at the bank. 

Nora makes desperate efforts to 
change Torvald's decision regarding 
Krogstad, but only succeeds in hasten- 
ing the man's dismissal. Torvald 
makes a bitter harangue against dis- 
honesty and blames the demoraliza- 
tion of children to the influence of bad 
mothers. Nora shudders at the crim- 
inal tendency she may have aroused in 
her children while they have inno- 
cently romped with her. 

Depressed by the impending dis- 
grace to herself, her husband, and her 
children. Nora feels herself doomed 
unless she can placate Krogstad. She 
thinks money will still do it, and 
nerves herself to borrow it from the 
family friend, Doctor Rank. She is 
stunned by a new complication. Rank 
confesses that he has long been her 
silent worshiper and that he is in love 
with her. She rebukes him, and in 
honor to her husband she dare not 
now solicit aid from Rank. There is 
nowhere else to turn. 

Under a mask of forced merriment 
Nora makes a resolve to die in order 
to relieve her husband and children 
of embarrassment due to her error. 
She measures her remaining hours by 
minutes, and by many devices gains 
about a day's delay of her husband's 
discovery of the situation. Krogstad 
has mailed to Torvald a letter con- 
taining his threats and charges, and 
it is in the letter box in the house, 
from which Nora cannot get it. 

At last, after a wild masquerade 
party of which Nora has been the 
life and leader, Torvald's thoughts 
revert to business and he unlocks the 
box, opens the letter and learns of 
the forgery and the blackmailing 
plans of Krogstad. True to his sel- 
fishness and narrow mind, Torvald de- 
nounces his wife as lost, regardless 
of the motive of her pitiful error. He 
decrees her an outcast and contamina- 
tion to his children. 

At this moment, influenced by Mrs. 
Linden, who was an old sweetheart, 
Krogstad sends back the forged bond, 
canceling all peril to Torvald and 
Nora. Just as irresponsibly as he 
condemned her, Torvald pardons her. 
In a mood of grand sympathy he par- 
dons her — although in her darkest 
moment he had not repaid her de- 
votion with even a flicker of self- 
sacrifice. 

Nora stuns him by firmly rejecting 
all reconciliation. She realizes as 
under a clear light that she had taken 
her husband too seriously — that she 
has been a toy of a selfish man in a 
very doll's house, to be discarded at 
any moment as a broken plaything. 
Against his miserable protests she 
goes out from him into the night to 
seek a new destiny on terms more fair 
and equal. 



rage 06 



There's No Mystery About It — 

THERE'S a reason why the nation-wide army of readers of 
LESLIE'S WEEKLY is growing every day. There's no mys- 
terious secret about it. Nothing of the sort. There's a plain, 
every-day, common-sense reason for it and it is this: 

LESLIE'S is attractive. It's interesting. It's likeable. Old and 
new readers enjoy getting it each week. It's always refreshing, 
informative, instructive, diverting. It's a welcome arrival in 
the home, in the office; a pleasant companion when traveling. 
Every week it contains the kind of articles and editorials you 
like to read and the kind of pictures you like to see. 

All this is not merely the claim of LESLIE'S itself. It repre- 
sents the collective opinion of a vast number of LESLIE'S 
readers. In fact, many of the words and phrases employed 
above are culled from recent letters from readers telling why 
they read it regularly and like it. Here are extracts from just 
a few of them : 

FROM TEXAS: "Each number of Leslie's shows an Imp rovem ent over the p r eceding one. All of 
your articles are interesting and wo have found many of them really helpful. Our favorite feature i- 
the Automobile Department." 

FROM INDIANA: "1 read your Investment Department every week and find it always filled with 
valuable, authoritative Information. Rut I enjoy your whole publication, especially the illustrations 
of events in various parts of the world, and the concise, well-written editorials." 

FROM TENNESSEE: "Our whole family looks forward eagerly to the arrival of Leslie's each week 
Its articles are timely and terse: we like its many illustrations and much of its contents we think of such 
real educational benefit that \vc like to read it to our children." 

FROM PENNSYLVANIA: "Leslie's gives me articles on timely topics in the compact form I like 
to reud. Il is hard to pick out any particular feature I like best. I usually read the editorials first 
because they express views in snappy, vigorous style, without excels words. The pictures, too, are 
varied and excellent, especially of events in various places. I like Leslie's better in its present shape 
because il is more convenient and easier to handle." 

F'ROM CALIFORNIA: "We have been taking Leslie's for more than twenty years and we enjoy il 
more now than we ever did. The auto and Investment features are of special interest to us. but almost 
all of the articles and pictures are highly enjoyable. If Leslie's keeps on improving as it has for some 
tinie you can COUnl on our family as subscribers for the next twenty years." 

So you see, there is no mystery about it. LESLIE'S WEEKLY 
readers like it, they enjoy reading it. That is why its army 
of readers is steadily growing. 



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It is true that Oriental superstition cr.r not, of 
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The Barnstormer 

(Concluded from page 43) 

back again through the audience, 
quickly divesting it of all its worldly 
possessions. 

Not until the bandit, having cleaned 
out the house, dashed past Joel and 
out into the street did anyone realize 
that this had been no feature of the 
performance but a real hold-up. 

"Stop thief. . . ! Stop thief. . . !" 
The cry rang through the house. 

"Where's his accomplice? . . . Lynch 
them both!" 

Rut Joel had disappeared in the 
footsteps of the departing bandit. 

Madly the crowd surged in angry 
protestation, pushing, jostling, sway- 
ing. . . . Panic seemed imminent 
when out upon the stage struggled 
Joel with the bandit close-locked as 
two gladiators in mortal combat. In- 
stantly the crowd turned its rapt 
attention on the two men upon the 
stage. A hush fell upon them. Noth- 
ing but the panting of the two actors 
broke the silence that hushed the hall. 

Emily was far enough down front 
to watch with conflicting emotions the 
struggle going on before her. No one 
knew how she prayed as, silently but 
surely, the bandit forced Joel back. 
No one knew how she feared when the 
bandit's arm rose ever so surely with 
the gun pointed straight at Joel's 
heart. . . . 

"Joel!" 

Emily's cry gave him the strength 
he needed. With the inspiration of 
her interest he bore the villain back 
until, wrenching the gun from his 
grasp, he flung him to the stage. 

Great was the applause that fol- 
lowed. The audience rushed upon 
them bent upon wrecking their venge- 
ance upon the villain and their praise 
upon Joel, but he, with another 
thought in mind, drew Kmily away in 
the ensuing confusion and out into 
the star-lit night. 

* * © 

And there Joel laid plans to play the 
leading part in Kmily's town for the 
remainder of his life. 

Fietionized from the film of the same 
name with Charles Ray and Charlotte 
Pierce. 



I The story on page 42 is Actionized 
from the film of that name with Harry 
Sweet and Margaret Cloud. 1 



\i'« Use for Babies 

T? A. WARREN, who wears an elab- 
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"Hungry Hearts." at the Goldwyn 
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to remove it. His little fifteen months' 
old baby did it for him, and got much 
joy out of plucking the hair from the 
grease paint every night. 

Very good now, but what if Mr. 
Warren should decide to grow a real 
beard? 




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■VI O R. PHI IM E ""'" , Stamp '['or 
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Page oS 



Photo Storiettes 

{(.'.uttli tilted) 



Beyond the Rainbow 

\n R.-C. Picture directed by 
William Christ \ Cabanne 

The Cast 

Edward Mallory Hairy Moray 

Marion rayfor. .Lillian (Billie) Dove 

Henrietta Greeley Virginia Lee 

/■ ranees Garden* i Diana Allen 

Louis Wade Jame: Harrison 

Count Rieardo ZYrrtoii . Macey Harlam 

Mrs. Burns Rose Coghlan 

Dr. Ram «v a Maurice Costello 

Mrs. (in nil in- Helen Ware 

Mr, Gardi mi George Fawcett 

Esther .Marguerite Courtot 

Inspector Richardson. Edmund Breese 

Robert Judson Walter Miller 

Col, Henry Cartrig hi. . .Charles Craig 

Virginia Gardeni r Clara Bow 

(Winner Brewster 1!I21 contest) 
Bruci Forbes Huntly Gordon 




Bill;/ Dun and Mann llurht 



The Storj 

BECAUSE of the prank of a little 
girl, Virginia Gardener, a num- 
iierof people gathered at the Gardener 
Iioiik- are thrown into consternation. 
While the ball is in progress Virginia 
throws From the balcony a number of 
>lips of paper upon which she has 
mischievously printed: "Let your 
conscience be your guide — your secret 
is common gossip." 

Upon each one of the gay dancers 
: !.<• bit of paper has a stunning effect. 
Edward Mallory fears bis fiancee, 
Henrietta Greely, has discovered his 
unfaithfulness; Marion Taylor, Mal- 
Uny's stenographer, who has come to 
the ball posing as u wealthy society 
belle, is sure her identity has been 
discovered. Count Rieardo believes 
everybody now knows him as the 
Mexican clerk which he really is; 
Robert Judson is certain his hatred 
for Edward Mallory has been made 
known. 

The Count flees. Marion seeks 



t yril Vhadwick, Edward Golding, .\Hr- 

man Kerry, Dorthy Pane and Anna 

Niuson 



The Story 

r rHREE British soldiers, all re- 
I ported officially dead, reach Lon- 
don on Armistice Night. There is 
Billy Foster, American, who enlisted 
in the British army because he was 
a c cused of killing a man and was in 
love with the man's ward, I via; 
Spoofy, whose mind is a blank from 
shell-shock and can't tell who be is; 
and Jimmy Gubbins, a typical cockney 
Tommy. 

Jimmy receives a cold welcome from 
his mother, who has been collecting 
and drinking up his life Insurance, 
but he takes his two pals in with him. 
Spoofy breaks out and, entering the 
home of a Duke, steals the jewel ry, 
duns the Duke's clothes, and kidnap' 
the Duke's child. Whereupon Scot- 
land Yard gets on the trail of both 
Spoofy and of Billy Foster, wanted 
for murder. How Spoofy turns out 
to be the Duke himself and how Billy 
vindicates himself and wins Ivis (V 
told in a story that is as funny as it 
is thrilling. 



Edward Mallory, accusing him of dis- 
closing her identity. Mallory in turn 
accuses her of having told Henrietta 
of his unfaithfulness. Bruce Forbes. 
who has been much attracted to 
Marion, hastens to defend her. In 
the midst of the scene the room is 
darkened, there is a pistol shot. When 
the lights come on Edward Mallory 
is lying on the floor while Bruce 
Forbes stands over him with a smok- 
ing revolver in his hand. The un- | 
tangling of the mystery is a devious 
affair but the wily inspector finally 
fastens the blame where it belongs — 
on Judson. After all, Mallory is not 
dead but the close shave has awakened 
him to a sense of honor. Marion finds 
her happiness with Bruce Forbes. 

"Three Live Ghosts" 

Bj (icor^e Pitzmaurice 

(Paramount) 




How I Increased 
My Arm 67 Inches 

When a youngster, I ay*a a thin, frail boy who 
showed little promise of being anything but a 
weakling. I always envied my robust compan- 
ions and wished that I could be like them, but I 
hud l>een told the old story that strong men are 
tKjrn. not made. What a terrible falsehood this 
is. And to think of the thousands of people 
who have been robbed of their ambition by 
These falsi- teaching* When I entered High 
School 1 was fortunate enough to meet an in- 
structor who m willing to work with me and 
who started inc OH my road to success H\ 
faithfully following his teachings and by hard 
work. I gradually developed myself to have an 
average sized body so that 1 at least need not be 

a-haim-il. My :trm in< 

tuv whole body had da r nipped Into fair i'r<>i»>ri><ni-.. 

The Secret 
Discovered 

I w»* <o pliii-f. 1 , i% tli 
nit" th.it I .!.~ 
•-tried to make the my 
'if.' -lu'ly. » I boiisht all 
tic book* I touiii obtain 
on "human u 
tad hasted <*it various 
fix-in- 14 exercise to wee 
What thiir rtfrvM would 

body I finally 
d scovered iht- ran 
of praan 

ami I w.uit to say rntht 

bin tint ■ man oh> 
• avariafl ■ Bold hum wn# 
in -\rt awn happy thaa I. 
i knew al once Btf food* 
est bopeo would ba 

i OOUld.fclT**] 

Hn .tin! viic-tr thrilliriK 
in > \> in- .tin) 1 MM MOW 

■Uc t.. a 

d Mraaetb win* ■ 

I 1 thought im- 

who nut neon 
l began to ami 

I bf l«.\- -laH.il tU ..ill 

mc till. STRONG 

\l AN .iii.l \..u . in 

Magna boa dh lighted 

llii- BMkdl 

The Result 

\- I meat lowed before, 
my bhri« bad Maaaand 

l>ul IU iiM.li— ! . 

made UnidMctn - 

aot only 

,,i beyond that .*" tin 
i rango atnaaj man of 

mm t.. un- that my 

POM nifthod t ' 
l*a*es that of afl) 

-\ Kan 

NlilllrTOU" 

mi toon nadw 
appaai i» pabtt 
i i« my wondcftul tM" 
teol and also to 
petforn tlir numrrouii 

■tranath teats whit h I 
aai able i» -■ KowpHaWi 

aii.i ttavcUoa through* 

OUt UM Kiuiltry hiving 
in> Baawai the ii.-.nlliu.-r 

■ 

hoUM-V, I '111 Idcd to be- 

i one a pobUa banefartof and Impart thai kaowlrdaa to 

othara. today my popthi run Into the thoaaMsdn and 1 r.-- 

nthaf ""• ii win. have sprang Into prum- 

1 1 nq aaldaai a and bwtn* ikxv 

What This Means To You 

Von too can havi tab pnaratfal phi nqat aad abonndlna health 
H v.. ii wi-h it. I don't cara km weal yon un, 1 will broaden 
t.iui risouldora, deepen roar cheat ami atrcyoo the name powerful 
inn- and kay. wfalbh I Haw davewped rot myneU ami il 

Don't Delay 

Ii roo "iiU knew what paffaet baaltli meant* yon woald not 
heskate one nfamtc. Ami tin- |oyi ol ■ budm aaaaenhu bod) 

i an ii- ■ • Doa'l WOMl ITOWl Wat wit 1 

that ■ ■•■! ttt.'.i time and Money* What yon want h 
fcnanioUi d rentlu and yon nana then in the -i«*tr«i paaoibM 
kc ■■■ v word io» It, nana Me ix..\r n. 

S*md for My New Hook: 

"Muscular Dttvelopment" 

It h Fret 

It tdb m ! -..in.h nwatrati 

itoataphp ix myarH ami some <>i tin- ».ul.!"- tw- 1 athlrtM 
whom I have tiK'm-'i, alao t nil pan ' ■ rplrnrlid offn to 

,t,:. boot ami -I'ltmlt'l offn wQI i» «ctri 
rsceJpt o< only i"> tmu. toonvn wm pyjo g and ■ 
ilown now and fill n the rffapm rhe »«i»«ir( yon aei -iai*.. I 
..ii tha read n hoakh and nttaaent, the bbmmi «t w<u i* to i,-... i. 

ix-rtnt irMiil""»l. Don't drag along OH DsU hyntBH mail the 
■ .111(1)0 today. 

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ii.-im. Mil 305 Broadway, Num York 




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Photo Storiettes 

[Continued 
Wallace Rcid in "The "A Rambling Romeo" 

World's Champion" ( Kduoational-Christie Compels 

(Paramount) 

Featuring 

Neal Burns 




William Burroughs .... Wallace Reid 
Lady Elizabeth Lois Wilson 



The Story 



""PHIS is the breezy story of William 
1 Burrough (Wallace Reid). Bill 
was considered rather no-account by 
his wealthy British father, who as- 
pired to a peerage. About the only 
one who had any faith in him was 
lovely Lady Elizabeth (Lois Wilson). 
Well, Bill finally kicked the dust of 
Britain off his boots and went to 
America, where, after various adven- 
turings, he went into the box-fighting 
business and became American middle- 
weight champion after a slam-bans; 
tray with the former title-holder. 
Then Prodigal Bill hied himself home 
to England. Bill's father, about to 
be made a duke or something, was 
horrified that a son of his had be- 
come a pug, and feared that fact 
would queer the duke business. But 
when all the nobility began crowding 
around Champion William and feting 
him and all that, papa came around 
quickly and killed the fatted calf. 
Meantime, there was Lady Elizabeth, 
pretty as ever — well, Bill just bought 
two tickets, and they boarded a 
steamer together for America. Selah! 



"The World's Champion" is filmed 
from the play, "The Champion," which 
was one of the season's hits. Grant 
Mitchell played the leading role. 



AW Burnt and Helen Darling 



The Story 

l^vICK and Tom had sweethearts in 
L' the same building. Dick was 
so fast that he had the ring on his 
sweetheart's finger five minutes after 
he called, and had time to try to help 
out Tom, who was so bashful he failed 
utterly at proposing. 

But when Dick proposed, Tom's 
sweetheart accepted him for himself, 
and invited him to dinner that eve- 
ning, although his first fiancee was 
expecting him. He sent a message to 
fiancee No. two that he was called out 
of town ; but when he tried to sneak 
upstairs to have dinner with his true 
love, the girl downstairs saw him and 
dragged him in to the table. He 
divided his time between the two 
parties, taking one course downstairs 
and the next upstairs, while Tom was 
burning with rage, thinking his best 
friend had "double-crossed" him. 

When the family upstairs came 
downstairs to visit, and the girls found 
they were "both engaged to the same 
man," Dick explained, and the girl 
Tom wanted admitted she was just 
trying to make him jealous, and the 
tangled affairs of this modern Romeo 
were straightened out. 



Page 60 




We're wondering tchal Betty Compson is going lu du with thai 

VOTtUol if she gOCS in siiimmin' . It WOn'i /«' then illicit .slit 

get* buck' 



IT is safe to say that hundreds of 
thousands of men and women in 
their thirties and forties, laughed with 
glee in their childhood at the antics 
of Tote du Crow, who has a villainous 
role, that of "the jackal" in "The Ver- 
milion Pencil," which is to be re- 
leased in the spring. Sessue Hayak- 
awa is the star. Du Crow was the 
original "Toto" the clown, with Ring- 
ling Brothers, and with Barnum & 
Bailey's circuses. He played in New 
York in an Al. H. Woods' production 
for one year, but his real popularity 
and fame came in the sawdust ring. 



r r l HE cowpunchers, bad men and 
*- other Western specimens in 
"Tharon of Lost Valley," which will 
star Dorothy Dalton for Paramount 
under direction of Paul Powell, sent 
in a petition to the latter that they 
have tea every afternoon at four 
o'clock. So the obliging Mr. Powell 
provided the refreshments. It is a 
really noble sight, to witness Clarence 
Burton, George Field, Frank Campeau 
and a few other of the villainous look- 
ing crew sipping the fragrant bever- 
age from dainty china cups during 
moments between scenes. One griz- 
zled old puncher as he drank his tea 
shook his head mournfully: 

"If," he remarked, "some of the 
boys on the range could see me now 
they would sure admire to tell me that 
I was on the road to perdition. I 
dunno what I'm comin' to!" 



I^RED STONE is one motion picture 
I star who never runs ufoul of the 
censorship regulations on kissing. He 
simply doesn't do it in his productions. 
He makes a dashing, daring cow- 
puncher, rough-rider and rope artist; 
he takes every sort of a chance to 
get the results his director may want 
— but he simply will not go into the 
time-honored clinch. Even in "Billy 
Jim," his latest R.-C. picture, which 
Frank Borzage directed, and which 
develops a mighty interesting romance 
plot, along with its dashing Western 
action, Stone avoided the kisses. He 
makes love on the screen just as any 
bashful boy would do— and it's re- 
freshing. 



r rSURU AOKI, who plays the role 
A of a Chinese bride, in support of 
Sessue Hayakawa, her husband, in 
"Five Days to Live," wears the con- 
ventional wedding costume, which is 
of almost barbaric splendor and mag- 
nificence. It consists of an undercoat 
and trousers of heavy purple silk; an 
over-jacket of silk in many colors and 
shades, blues, greens, yellows, reds and 
richly embroidered in flower and but- 
terfly designs. The most significant 
parts of the costume, however, are the 
tiny silver bells which are hung about 
on panels covering the trousers and 
which give forth a faint tinkle as the 
bride moves about. It is said that 
each of these bells expresses a wish 
for a male heir, and their absence from 
the wedding costume would be a mark 
of great impiety by the bride. 




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THWENTY-PIVE Uiousaiwl persons 
A were used in filming the stupen- 
dous series of four Paramount 
pictures called "The Mistress of the 
World." 

In some of the more spectacular 
scenes, especially those showing the 
entire populace of the lost city of 
Ophir worshipping at a pagan temple, 
as many as 10,000 people are seen on 
the screen at the same time. 

The large number of actors em- 
ployed throughout the production wa.- 
made necessary by the fact that no 
fewer than three different races of 
people are used in large numbers. 
The locale of the story is laid in Den- 
mark, China and Africa. The Chinese 
scenes show the city of Canton 
with its immense crowded population, 
which required a vast number of 
Chinese supernumeraries. Then the 
story switched to Africa, where the 
incidents of the story occurred amid 
savage negro tribes, requiring a large- 
number of negro extras. Then the 
story changes to the city of Ophir, 
where white people are used again, 
and then the scene shifts again to 
Denmark, where vast crowds of people 
acclaim the safe return of the airplane 
which had gone into Africa to rescue 
the heroine and her companions from 
the hands of the Ophir population. 

Before staging the Chinese scenes 
the director, Joseph May, was obliged 
in SCOOT Kurope to find a sufficient 
number of Chinese to make the Canton 
scenes realistic. In a stage play, a 
white man can become a plausible 
Chinese by means of make-up, as was 
proved by Walker Whiteside in "The 
Typhoon" and "Mr. Wu." But the 
revealing eye of the camera acts 111 
just the opposite manner from the 
illusory glare of the footlights. The 
footlights hide imperfections of make- 
up; the camera throws flaws of char- 
acterization into high relief. There- 
fore, it was necessary for the director 
to engage real Chinese. 

The same meticulous care was nec- 
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scenes showing the cannibals. No 
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BUrWiWrrH 

bum oBBavs ■ 
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Lee Moran in 

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Lee invest* HI a box of burnt cork ami a 

uniform ami join* the Ancient Order of 

liailrnud fatten. 




Ilr overslept tin lines laid down In/ his jnb 
mid bi.i neie rolor und U in danger of 
starting a ran- riot. 




Hi obeys tin natural impulse inspired In/ all 

tunnels and after kissing the girl gives some 

of his southern exposure to her. 



SONG WRITERS 

melodies? 



Have you 



RAY 



song poems or 

I li:i\ •■ In-.-: prii|>i.-in.»n t., ..Il.t pan 

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Wn'.e WAGNER, 186 E»il 79th Street, New York 




The eruted nf indignant l yncher s in their 

rffnrt tn punish him make the astounding 

discovery that black is white. 



Page 0-: 




If Hcri 1,1/ti II in hi* "tri/i In I'artulixt'" hiul iikiiI Ihm iiulniiiiibilr 
iiml Us rluinffiiir. nr irnmlrr lloir miirli iiiiiiii'iijiiuj lie irniild 

have hiul ii> do with tin power* that hi- in gain on adtrtHtanoe. 



a 3 ] i i l ] i i i i ] 3 

Since the word has gone forth thai 
directors prefer blondes to brunettes, 
many a girl is dyeing to tro into the 

movie . 

c [ c r [ i r t r [ r c c 



r pULLY MARSHALL is one of the 
*- very few motion picture actors 
whose name appears in "Who's Who in 
America." He has been everything in 
theatricals, including call-boy, prompt- 
er, stage manager, director, producer, 
star, leading man, character parts, 
press agent, advance man, cometist in 
the orchestra, and orchestra conduc- 
tor. At that, he does not pretend to 
all-knowledge, and is one of the easi- 
est men on the screen to direct in pic- 
tures. His latest R.-C. picture is 
"Silent Years," directed by Gamier, 
taking the role of a money-grubbing 
miser in a little French-Canadian 
village. 



oooooaoaaaooo 

It took "Humoresque" to put the 
ma in cinema. 

cccrrirttccco 



'I^HK largest stage in the world with 
' a glass roof was formally chris- 
tened December 17, when the em- 
ployees at the Paramount West Coast 
studio held a dance on the new floor 
of the Number 4 stage, which has just 
been completely roofed with glass. 
Nearly 2,000 persons, including all 
the Paramount directors, stars and 
leading players, attended. 

The stage is 115x250 feet. The 
rooting is supported by steel, canvas 
walled and with thousands of panes 
of glass forming the covering. Hith- 
erto it has been an open stage. It 
contains the famous tank where such 
scenes as the lion's den in "Male and 
Female," and the Ltisitatlia wreck in 
"The Little American," both ('. B. 
DeMille productions, were staged. It 
also holds a miniature tropical garden. 



TS Matrimony a Failure," will 
probably conclude by a scene on 
location where T. Roy Barnes, who 
plays the leading role in this Para- 
mount special comedy, has to chop 
down a tree, thereby emulating the im- 
mortal George Washington. 

"Except," he says, "it isn't a cherry 
tree and it isn't my hatchet. Both 
belong to the prop department. How- 
ever. I hope to make a (rood clean job 
of it, having had so much practice 
swinging a golf clu'-." 



WHY CARTOONISTS 

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MOVIE ACTING! 

A fascinating profession that pays hip. Would 
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Page 68 



Play By Ear 



Be 



I- ' 



Music Master 

Yes, you can, even if you 
have never touched a piano. 
The Niagara School of Mimic 
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All yoii reed to know is how 
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actual JAZZY music on the 
piano. ALL BY EAR. 

It Is Easy To Leern 

Many roaster* of Jazz and 
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note Be a Music Master 
yourself. It it easy— the les- 
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— no tedious dinff-donp; daily 
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until you think you will go 
crazy; not at all. Just 20 
brief, entertaining lessons 
and you have a musical 
ability nt which your 
friends will marvel. YOU SIMPLY PLAY BY EAR. 

Huir the Tune, Play It By Ear 
Hear a new popular song hit, hum the tune, play it 
roatMlf. All by ear. Just think how.many dalMmur* tfale 



| BE A 
; ' REM PIANIST 



r 20 

LESSONS 



MAIL 



FREE BOOK 



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FOR DETAILS AND 



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Human Halr;lrlih,Duteh comedian 
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or chin. 2&c. Fraa catalog. GUS. 

KL1PPERT, 48C ' N T Sa ' 



THK signinjr of Rudolph Valentino 
under a three-year contract to star 
in Paramount pictures, and the pur- 
chase of a list of notable dramatic 
properties for production as Para- 
mount pictures have just been an- 
nounced by Jesse L. Lasky. 

Valentino's first appearance under 
his new contract will be as the tore- 
ador in Blasco Ibanez's novel and play, 
"Blood and SaYid." The screen adap- 
tation of the novel will be made by 
June Mathis, who adapted "The Four 
Horsemen of the Apocalypse." 

In "Blood and Sand," Mr. Valen- 
tino will have an all-star supporting 
cast, including Bebe Daniels as the 
Spanish vamp and May McAvoy as 
the wife. 

Other announcements made by Mr. 
Lasky were: 

Penrhyn Stanlaws' next production 
will be "Over the Border," an adapta- 
tion of Sir Gilbert Parker's "She of 
the Triple Chevron," with an all-star 
cast headed by Betty Compson and 
Tom Moore. 

After the completion of "Bought 
and Paid For," William de Mille 
will produce "Nice People," Rachel 
Orothers' successful Broadway play, 
with an all-star cast. 

Agnes Ayres will next be starred 
in "The Ordeal," by W. Somerset 
Maugham, author of this season's 
Broadway success, "The Circle." 

George Fitzmaurice, who has just 
finished "The Man From Home," in 
Italy, will go to Egypt for exterior 
scenes in his next picture. 

Jack Holt and Bebe Daniels will be 
co-starred in "A Stampede Madonna," 
a story of Alaska by Monte M. Kat- 
terjohn, author of "The Flame of the 
Yukon." 

Gloria Swanson will next appear in 
a screen version of "The Love Dream," 
a successful Broadway comedy. 

Upon his return from Europe, Cecil 
B. DeMille will produce "Manslaugh- 
ter," the novel by Alice Duer Miller, 
with a cast of well-known stars. 

George Mel ford has returned to 
California to start work on "The Cat 
that Walked Alone," with Dorothy 
Dalton and Milton Sills in the leading 
roles. 



$160,000 Spent on Costumes for 
Ingram's "Prisoner of Zenda" 

COSTUMES costing .$160,000 have 
been supplied for the Rex Ingram 
production for Metro of Anthony- 
Hope's "The Prisoner of Zenda." The 
designs were taken from models of 
British court costumes. Alice Terry, 
as the Princess Flavia, wears, in the 
coronation scene, a gown of rose col- 
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square bodice, elbow sleeves and a 
sweeping train. The neck and sleeves 
are trimmed with kolinsky fur. 

The screen adaptation of the novel 
was made by Mary O'Hara. The pro- 
duction is being photographed by John 
F. Seitz. 




381 



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From "Where Knowledge 

Means Happiness" 

Copyright I9H 

Counsel Service, Depl. V, 



SEX 



Facts other sex 
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Loo/i o»< below! Do yon wonder Harold Jloyd gels about Jirt: 
minute when he has to pull off Ma nh like thief 



tilliou dollar* a 



A Game Chicken 

(Concluded from page 44) 



suave piece of villainy when he con- , 
vinced Inez that Rush was really an 
agent of the Purity League, in Stony 
Point, to conduct a raid upon the 
country club, and that he was sham- 
ming love for her only in order to 
betray her. 

"I'll show him," cried poor, deluded 
and hot-headed Inez, and forthwith 
lured Rush into the hands of Jose, 
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to the rum-laden schooner. 

But Rush had been able to get word 
to Boston, and soon Revenue officers 
from the Hub were racing on a sub- 
marine chaser tlrough the fog in 
search of the smugglers' vessel. 

Meantime the salty tang, or some- 



Yet It's True 

By P. L. A. 

Fairbanks never hits the bottle, 
Mary Pickford ain't profane. 

Ferguson reads Aristotle, 
Chaplin's not a bit insane. 

Wallace Reid is almost saintly, 
Swanson often says her prayers; 

It is said, and that most quaintly, 
Ray won't throw his wife down- 
stairs. 

We could write like this forever 
On filmland, as we conceive it; 

But, we fear, the public never, 
Never, never would believe it. 



thing, had fired the blood of Jose and 
led him to show his true lovely self. 
Telling Inez that he intended to kid- 
nap her and make her his freebooting 
queen, he started to get rid of Rush 
by hanging him to the yardarm. This 
was too much for Inez, who suddenly 
discovered that she had loved Rush all 
the time, "revenooer" or not; and, 
taking a desperate chance, she set fire 
to the vessel. 

Attracted by the flames, the sub- 
chaser came churning up in time to 
take part in the rough-and-tumble 
fight on the smugglers' flame-swept 
deck and to rescue Inez and Rush from 
watery graves. 

They were married in Boston. 



That Game 
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ipLARE BRIGGS, the man who draws "WHEN A 
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Page 66 




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Page 86 



This Trait-Marl 



Lila ties is here shown to '«■ considerably »/> against it. lioth nun perhaps are 
la.i.s overcome with « desire t<> Inl/i tin /xmr lady than tin 1 !/ are with the told. 



Richard Barthelmesa Like a kin;; 

RICHARD BARTHKI.MRSS on 
his return from location down in 
Maine, where "The Seventh Day" 
v;is filmed, went to the producing 
company"* office. 

"We lived line kings on that pri- 
vate yacht," he enthusiastically said. 
"And the food! Why, it was as good 
as you could get at any of the lust 
hotels in the city." 

•Til say the food was all of that," 
said the unenthusiastic business man- 
ager. 

"How do yon know?" asked the 
star. 

"I've just got the bills," was the 
laconic reply. 

Bayard at Ba> 

BAYARD VEILLER, the Metro di- 
rector, was in charge of collect- 
ing a Christmas fund for the poor 
children of Loa Angeles. Having ob- 



tained heavy subscriptions from most 
of the actors, he tackled a visitor to 
the studios at Hollywood. The visi- 
tor happened to he an out-of-work 
actor in hard straits to keep his family 
going. Mr. Veiller approached him 
with the announcement: 

"I'm raising a fund for the poor 
children—" 

"Yes, I know." said the visitor, 
"and I'm raising the poor children for 
the fund." 



BKRT LYTELL, the Metro star, an- 
nounces that, with the temporary 
closing of Metro studios in Hollywood, 
he will tour the country, taking in 
the principal cities. 

"I'll go from the Pacific to the At- 
lantic, pursuing a /.ig-zag course." 

"Don't say that," interrupted his 
director, Bayard Veiller. "Anyone 
not acquainted with your temperance 
habits might misconstrue it." 



MAKE YOUR 



OWN MOVIES 

and see 'em as much as you lil^e! 

Make Buster 
Keaton stand 
on his head. 
See the back 
cover of this 




BUSTER KEATON 
who shipped oceans of 
laughs on "The Boat" and 
was accused of making a 
wooden Indian laugh during 
"The Paleface," has pre- 
pared this De Luxe sire 
comedy for private audi- 
ences. Buster had to do 
something to let the people 
see him, who couldn't get 
into a theater when he was 
playing. 



Magazine. 



You 'II see this on 

every Busier Keaton 

Comedv 




A First National 
Attraction 



Make Your Own Movie! 

— see Buster stand on his head! 

CUT OUT each of the little panels illustrated below and arrange them one after the other, in numerical 
order, — number 1 on top, the others following in sequence. Take an ordinary paper clip and fasten 
all the slips together at the bottom; or fasten around with a rubber band. Then hold the booklet firmly 
at bottom with thumb and index finger of left hand and snap the leaves at top with thumb of right hand 
and you'll see Buster perform one of the many tricks that have made him foremost among the 
comedy stars of the screen! 




Have you seen 
Buster Kea 
ton in "The 
Paleface"? 




If you want to 
yell like a 
howling In 
dian — see it. 




3, Don't say that 
you haven't 
seen "Tin 
Boat." 



4. GRACIOUS 




6. Shimmy yout 
timbers — 




Buster packed 
the boat with 
a cargo of 
laughs. 




K. 



And ' ' T !i i 
Blacksmith." 
Wasn't that 
a furnace of 
fun? 




1 1 



And the latest? 
O joy! 




12. If s called 
"Cops!" 




13. Buster gets as 
popular with 
the police 
force 




S. That is really 
the best com- 
edy Buster 
ever made. 




'irse. 
you've heard 
of the mon- 
key that 
could act like 
a man 



111. 




As the man 
who stole the 
green lamps 
from the 
front of the 
police sta- 
tion. 




But in "The 
Playh ouse" 
Bu«tcr shows 
you the man 
who could 
act like a 
monkey. Re 
member? 




15. He breaks up 
the annual 
police parade 




16. 



-Then the fun 
begins. 




17. 



Don't miss this 
one. 




18. It's a riot. 




19. And lest you 
forget, you'll 
see this on 
every com- 
edy Buster 
mal; 




20. A FIRST 
NATIONAL 
ATTRACTION. 




PRt -•» or wn.i.roi atmof, wrw t°kk